Blog Archives

From the Archive: Top Ten Movies of 2006

Recent weeks have seen an online avalanche of top ten lists from movie critics of all stripes. I live in the frigid north, however, and it takes certain cinematic offerings a little longer to fight their way through the sleet and

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From the Archive: The Player

And here we are at the top of my list of the best films of 1992, at least at the time of our broadcast. As I note in the write-up, my on air cohort and I agreed on the title

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From the Archive: Frankie and Johnny and The Player

One week ago, I helped bring the school year to an end at the college generous enough to employ me, thanks to my leadership role with the annual commencement ceremony for graduating students. This made me think back to my

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Top Fifty Films of the 70s — Number Six

#6 — McCabe & Mrs. Miller (Robert Altman, 1971) It’s routine to praise directors for their abilities to construct entire worlds, especially in the modern era of filmmaking which increasingly depends upon the startling efforts of creators who are freakishly

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Top Fifty Films of the 70s — Number Twenty-Three

#23 — M*A*S*H (Robert Altman, 1970) Whenever I look at Robert Altman’s breakthrough 1970 film set during the Korean War, I find it simultaneously completely logical and utterly incomprehensible that it spawned a beloved television series that ran for 251

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

#27 — Nashville (Robert Altman, 1975) What does it say about the difference between European cinema, I wonder, that there’s such a pronounced fundamental difference between the two directors, roughly contemporaries, from each respective region that are best suited to

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Altman, Clements and Musker, Gordon (and others), Kubrick, Weir

Lolita (Stanley Kubrick, 1962). Vladimir Nabokov’s novel was less than ten years old when Stanley Kubrick took a swing at it, so he was working with a best-selling sensation instead of a revered part of the canon. That–combined with the

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June 2017
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