“‘The Mysteries of Cinema’ is not really an argument about film’s essential qualities, but a collage of similarities, preoccupations and obsessions that drive not just its filmmakers, but seem to consume the medium itself.”
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Brian Brems on ‘The Treasure of the Sierra Madre, ‘Da 5 Bloods’ and ‘Trespass’
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“Occupying a middle space between the classicism of Japan’s most well-known filmmakers and the politically charged avant-garde of the New Wave, Suzuki uses the trappings of noir to explore the ramifications of isolation.”
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“In Kurosawa’s noir films, characters struggle to move beyond loss — personal, financial and national — only to find that more loss awaits them.”
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“For a film about anger — both that of the social movements animated in protest and that belonging to the state which will brook no challenge to its authority — ‘A Grin Without a Cat’ is surprisingly without its own anger.”
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“‘The Black Dahlia’ shows De Palma in a reflective mood, considering the impact cinema, especially his own, has had on the lives and suffering of women on screen.”
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“Otto Preminger’s ‘Where the Sidewalk Ends’ and Nicholas Ray’s ‘On Dangerous Ground’ gesture towards the difficult conditions under which police labor while turning a critical eye on the brutally violent detectives who abuse their power.”
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“The accumulated effect of ‘Find Me Guilty,’ with its litany of absurdities, is that it is better to deliver the accused from continued subjugation than to maintain faith in a system that has lost all claim to its moral authority.”
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“In their conversations, Soderbergh and Nichols work together to dismantle the artificial dividing line between art and criticism, neatly moving between the two…”
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“In ‘Night Falls on Manhattan,’ Lumet arrives at acceptance — the system is what it is. He is resigned to his inability to chronicle any meaningful change through his work.”
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