Blog Archives

Broomfield, Demme, Radice, Safdie and Safdie, Truffaut

Ricki and the Flash (Jonathan Demme, 2015). By the last third of the film, it seems clear that Demme’s chief motivation for taking on this project is the opportunity to apply his extensive experience directing concert films to this fictional story

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Top Fifty Films of the 50s — Number Sixteen

#16 — The 400 Blows (François Truffaut, 1959) Steven Spielberg once attributed the initiating spark of E.T.: The Extra-Terrestrial to none other than François Truffaut, noting that the French filmmaker told him on the set of Close Encounters of the

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Top Fifty Films of the 60s — Number Seventeen

#17 — Jules and Jim (François Truffaut, 1962) And so here it is: not necessarily the best film to burst out of the French New Waves, but perhaps the quintessential example of the revolutionary movement and all the possibility it

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Top Fifty Films of the 60s — Number Forty-Four

#44 — The Bride Wore Black (François Truffaut, 1968) Quentin Tarantino insists that he never saw The Bride Wore Black before conceiving of his Kill Bill films, but I don’t believe him. I’m sure he’s not lying, that he’s actually

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Top Fifty Films of the 70s — Number Thirty-Seven

#37 — Day for Night (François Truffaut, 1973) Auteur theory was first posited in the mid-nineteen-fifties in the pages of Cahiers du cinéma, advocated most persuasively by a young French film critic named François Truffaut. Suggesting the director should be

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Spectrum Check

This week, I was all over the site, beginning with a movie review of a offbeat new documentary about, at least in part, the collision between man and nature in the American south. It’s a movie built on so much

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Posted in Film, Music

Carpenter, Cronenberg, Ford, Truffaut, Wright

Hanna (Joe Wright, 2011). Well, I’ll say this for director Joe Wright: He’s not going to be pinned down. He made his feature debut with a Jane Austen adaptation and followed that with a prestige picture based on a Ian

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May 2017
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