In Black Gravel, nothing is in more abundant supply than the countless vices indulged at one of Sohnen’s bars, which doubles as a bordello and caters to German locals and American military personnel alike. Pina Pellicer is very torn between loyalty to her stepfather and her love for Brando, and the film makes you suffer with her. Claudine is far from helpless, though, as the film sees her not through the lens of her victimhood, but through her resilience. When Brando gets fired up; watch out ! Both essays are short, inspiring wishes for a deeper dive into the subject matter, but crisply contextualize the production. The film’s freak show ringleader, Mr. Bytes (Freddie Jones), is a drunken tyrant out of a fairy tale, while Merrick (John Hurt) is a holy innocent who coaxes the best out of mostly the upper class. Claim your listing for free to respond to reviews, update your profile and much more. Karl Malden (Dad Longworth), Ben Johnson (Amory) and Sam Gilman (Harv) turn in competent performances as the bad guys. The narrative’s trajectory is every bit as predictable as the results of Roff and Dave’s fights, but Wyler makes Dave’s redemptive journey as tough as it is thrilling, with an extended and invigoratingly brutal boxing match that sees Dave atone for his sins by staying in the ring and surviving the pugilistic fury of the enraged Roff. My advise is don't accept a seat back there. Aronofsky’s remains the most engaging of the two, as its enriched by his recollections of growing up in Brooklyn, among other things, while Libatique’s is good listening for anyone fascinated by the film’s technical attributes. Claudine’s six children crowd their tiny apartment with their own emotional baggage, be it her eldest son Charles’s (Lawrence Hilton-Jacobs) burgeoning social conscience, her younger son Francis’s (Eric Jones) desire for invisibility, or her teenage daughter Charlene’s (Tamu Blackwell) troubles with booze and boys. Like the first two volumes of WCP restorations released by the Criterion Collection, the first in December 2013 and the second in May 2017, the third is both indispensable and flawed, as the six films collected here have no immediate relationship to one another aside from having been restored by the WCP. A gorgeous and important restoration. The El Topo and The Holy Mountain cases each contain a soundtrack CD. Read the Empire Movie review of One Eyed Jacks. He understands that Merrick’s story is inherently heartbreaking, and frequently ends scenes the second they reach a catharsis, without wallowing in aggrandizing joy or misery. Requiem for a Dream’s first 30 minutes are some kind of tour de force, exploding out of the gate as the expression of a unique cinematic voice and introducing the stylistic techniques that structure the entirety of the film. This picture has the great natural beauty of the Monterrey peninsula and Death Valley, and Karl Malden and Ben Johnson, among others, do superb work. All in all a greatly neglected treasure. Working in Mexico in 1968, Jodorowsky filmed Arrabal’s deliriously dystopian play Fando y Lis using only a one-page script and his memory of the stage production. The distribution version is a tad washed out compared to the premiere cut, which, as houses the commentary track included on the disc, is effectively presented as the definitive version. At first glance, St. Luc seems eminently capable, yet oddly diffident to the tender mercies proffered by Nurse Forsythe (Lynn Lowry). Her often arduous endeavors are backed by Gladys Knight & the Pips’s rousing soul soundtrack, which was written and produced by Curtis Mayfield and features songs full of biting humor (“Mr. Of course, this being Cronenberg, the outcome for him is sure to be less than triumphant. Metacritic Reviews. Fando y Lis, El Topo, and The Holy Mountain are presented in new 4K restorations, and each looks pretty spectacular, marking a significant improvement not only over Anchor Bay’s 2007 DVD editions, but also over the individual Blu-ray releases of El Topo and The Holy Mountain from 2011. Although some critics panned this film, it has legions of devotees. The Blu-ray itself includes La Cravate, an early short film from 1957, based on a Thomas Mann novella, and told entirely in mime. It's very surprising that the direction so well crafted and flawless for a first time director. The downward spiral begins as a result of Nicholas’s having had secret dalliance with Annabelle. The 4K transfer of Pixote and After the Curfew are largely pristine, with the colors of the former popping from the frame like the quick bursts of violence that litter the film. Slim Pickens is memorable as the revolting Lon, and Elisha Cook pops up as the bank teller who fights back. Moving beyond failure and the death of the ego, Jodorowsky leaves things wide open for a new beginning of sorts (not to mention a sequel). And while Rupert, a garbageman, is patient and sweet with Claudine and her much less-enthused kids, he’s left a trail of ex-wives and estranged children in his wake that speaks to his own troubled past. (And a modern transfer does nothing to dispel the power of the film’s make-up effects.) Brando directs for the only time . Has an atmosphere similar to Castle Jacks. Particularly in the era of its release, when blaxploitation films driven by violence and exaggerated black masculinity were at the height of their popularity, Claudine was a true outlier: a tender and sobering rendition of the African-American experience from a female perspective, grounding the intense love and passion between Claudine and Rupert in a gentleness and vulnerability that wasn’t yet typically afforded to black characters on screen. Less virtuoso, though no less driven by a full-throated lament for injustice, is Usmar Ismail’s After the Curfew, a classic of Indonesian cinema. Jean-Pierre Gorin’s 2007 video essay, A “Pierrot Primer, is a brilliant, incisive reading of about the first 15 minutes of Godard’s film—so bursting with ideas and insights that you may wish he’d done a piece on the whole film. He can be frighteningly still and silent, as in the confrontation with Harv in Red's cantina, exuding lethal menace, or explosively violent. When negatives are in immaculate condition, as is the case of Lucía and Soleil Ô, the result is a revelation: These 4K transfers are flawlessly assembled and color graded, with Lucía’s image detail especially of note for its depth of field, clarity in close-ups, and sharpness. Alienated from Nicholas’s affections, Janine seeks solace from her next-door BFF, Betts (Barbara Steele), in an encounter that soon turns very intimate indeed. In another archive supplement shot at the Los Angeles County Museum in 2004, filmmaker Jules Dassin discusses his illustrious career, including his work with journalist Mark Hellinger. Then a follow-up interview permits the participants (some of them couples) to describe the therapy’s impact on their lives. Whether or not the 91-year-old director makes another film, this documentary could easily stand as a compassionate encapsulation of the themes of suffering and transcendence that have run through his entire career. It's unacceptable that such a classic known by so few people these days. Once Käutner was out from under the censorial thumb of Adolf Hilter and Joseph Goebbels, the Nazi Party’s minister of propaganda, he sought to make amends, expressing his disdain for Nazism and directly addressing Germany’s recent transgressions through films such as Seven Journeys (the first German film released after WWII) and, later, Black Gravel, a savagely bleak portrait of a wholly corrupt Germany that’s yet to come to terms with its wartime legacy. I figure, what-the-hell. The film is effectively a daisy chain of individual interventions that seem to vary in format only slightly from case to case. The color balancing is particularly impressive, with strong black levels and the wide array of skin tones all staying true to their natural hues. Working from a script that is in part based on the legend of Pat Garrett and Billy the Kid, Brando interweaves themes of betrayal, revenge and hypocrisy into something strangely hypnotic and real. Scorsese’s intros each clock in at less than three minutes and provide key details about a film’s production and restoration efforts.

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