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Allen, Assonitis, Korda, Stromberg, Tetzlaff

Maleficent (Robert Stromberg, 2014). This piece of fairy tale revisionism might be more affecting if it didn’t arrive on the heels of the same studio’s Frozen, which pulled off basically the same switcheroo (including the subversion of the “true love’s

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Top Ten Movies of 2013 — Number Nine

The kismet of cinematic artistry is elusive, which unfortunately alleviate the unfair sense of disappointment when the most creative individuals struggle through dry spells. By now it’s understood that Woody Allen is too prolific (and too unconcerned with anything other

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What a great world we all live in, even better, what a time to be here

Woody Allen has sometimes be accused, not without some justification, of focusing on a certain rarefied version of the New York experience in his art. While he exists in a city teeming with working class people, his urban ecosystem is

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Top Fifty Films of the 70s — Number Three

#3 — Manhattan (Woody Allen, 1979) I can say with some certainty that Manhattan is home to my favorite film opening. Over cinematographer Gordon Willis’s gorgeous black-and-white shots of the borough that gives the film its title and accompanied by

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Top Fifty Films of the 70s — Number Seven

#7 — Annie Hall (Woody Allen, 1977) I’ve loved Annie Hall for a long time, but I don’t think I understood the extent of its specialness until I saw the Woody Allen directorial effort that directly preceded it, 1975’s Love

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

#25 — Interiors (Woody Allen, 1978) Interiors was Woody Allen’s eighth film as a director. That’s both an impressive amount of features to have churned out in his first twelve years as a filmmaker (Paul Thomas Anderson’s sixth in sixteen

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Allen, Coppola, Cukor, Gunn, Mills, Scorsese, Winterbottom

New York Stories (Martin Scorsese, Francis Ford Coppola and Woody Allen, 1989). I remember reading Roger Ebert’s review of this anthology film and thinking he cheated by giving individual star ratings to each of its three segments. After all, no

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