“Jean-Pierre Melville’s ‘Le Samourai’ is the definition of cinematic precision. Each shot, each cut, each movement is a slice of redolent, provocative and sometimes even banal accuracy.”
“It only took three decades for ‘RoboCop’ to go from a sci-fi thought experiment to prescient documentary. What do the next few hold?”
“While Lang never fully embraced socialist principles over the course of his career, he always seemed to have a violent distaste for the men who stood on the shoulders of those who were less fortunate, knowing full well that social class does not correlate a strong moral conscious.”
“The film has an unusually conservative vibe for a noir, maintaining that the status quo may be boring but criminality has nothing to offer — not even carnal thrills.”
Neaux Reel Idea is a Vague Visages column by Bill Arceneaux, in which he explores the cinema of his native New Orleans.
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“I think that Schrader is just reaching out, trying to stretch his directorial arms, trying to show everything that he’s got.”
“‘American Gigolo’ doesn’t necessarily work as a neo-noir, but it still has enough romance and intrigue to be well worth watching.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“To missteps when ‘Three’ hews too close to action clichés.”
“As Bridget Gregory in ‘The Last Seduction,’ Linda Fiorentino is like the shock of hearing a gunshot in the dead of night. She embodies, more than any other character, the ethos of the modern femme fatale.”
“Of all Sam Peckinpah’s films, the violence in ‘The Getaway’ often strikes me as the most senseless.”
“If you have an ounce of capitalist discomfort, ‘La cérémonie’ will surely begin to boil your blood, and that’s where things get interesting.”
“Youth is central to ‘Violette,’ and Isabelle Huppert’s petite frame and almost childlike features lend the film a skewed point of view that is colored neither by experience or shame.”
“‘The Bride Wore Black’ has a rather deft sense of humor that raises it above many of the other brightly-lit neo-noirs of the 1960s.”
“A feeling of powerlessness is no doubt at the heart of Moreau’s possessed performance in ‘Elevator to the Gallows.'”