“As the 70s dawned, survival for Dean Martin became a matter of staying on the horse and waiting for the culture to loop back in his favor, to mature into the venerated relic who had come direct from the bar.”
“Peter Cook was never able to bridge the distance between his personal world and his many creations, and one gets the impression that he derived a certain satisfaction from keeping people guessing.”
“Holliday’s persona is one of shrewdness in the face of unrelenting condescension; she perfected the art of playing the outwardly ditzy blonde who lulls those around her into taking her lightly.”
Raymond Rea Interview: Greg Carlson and the filmmaker/educator discuss movie collecting.
“Perhaps David Cronenberg is owed another kind of reputation: that of a humanist filmmaker who observes and questions, who understands our pain and sorrow as well as our ambitions both intellectual and libidinous.”
“The power of ‘Coach to Vienna’ today rests in its mythic quality. The crux of the story may well be placed in the ‘real,’ but the affect of the mise-en-scène is that of a murderous fable.”
“Drug culture and social upheaval became inextricable on the screen in the 60s; it was a belated recognition on the part of the industry’s tastemakers that American cinema’s scrupulously maintained state of grace was no longer sustainable…”
“‘The Sorrow and the Pity’ is surgical and functional, yet unquestionably a reflection of the imagination of an artist.”
“Jack Curtis’ 1964 feature ‘The Flesh Eaters’ deserves consideration as a lost figurehead of the gore genre, and one of its more formative efforts.”
“The cultural energy of the French New Wave is all over ‘The Story of a Three-Day Pass,’ not least because Van Peebles moved to Paris with his young family and published four novels in French as he was learning the language.”
‘Massacre Time’ Cast: A Vague Visages guide for every main performer and character in Lucio Fulci’s 1966 movie.
“Much like Farrokhzad’s poems, ‘The House Is Black’ pushes the viewer and its subjects to strive for some kind of freedom, whether emotional, spiritual or political.”
Author Joseph B. Atkins on Filmmaker Monte Hellman’s Life and Career
“While Suzuki’s overly-stylized and sometimes incomprehensible films ultimately led to his termination from Nikkatsu in 1968, his legacy safely lives on in modern day Japanese cinema…”
“‘Branded to Kill’ doesn’t flow, it staggers — it moves like a dying man, shot through the gut, bleeding out.”
“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.”
“‘A Colt Is My Passport’ represents a supreme tension between American and Japanese Noir, and asks questions about the past and future of international cinema.”
“A blueprint for Suzuki’s later masterpieces, ‘Take Aim at the Police Van’ is a solid cinematic vehicle full of suspense and surprises.”
“‘Pale Flower’ finds its own rhythm and mood, superimposing frictionless cool on tireless ennui, punctuating everyday boredom with an enigmatic tremble.”
“‘Pale Flower’ is a magnificently emblematic example of the stylization, self-consciousness and independent spirit that defined the Japanese New Wave.”
