Tweet Thanks to the Boston Phoenix for linking! I’d been planning a post on Attack the Block, the brilliant UK sci-fi film, and Misfits, e4′s hit teen series, before I read about parts of London spuriously rioting in response to the police killing of Mark Duggan. When I read the youth of London were enraged, [...]
Posts Tagged ‘european cinema’
Did ‘Attack the Block’ and ‘Misfits’ Presage the London Riots?
Posted by Aymar Jean Christian on August 8th, 2011
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“The Prisoner:” Then (1967, McGoohan) and Now, (2009, AMC)
Posted by Aymar Jean Christian on November 1st, 2009
Tweet Number Two: “Let’s make a deal. You cooperate, tell us what we want to know, and this could be a very nice place. You may even be given a position of authority.” Patrick McGoohan (Number Six): “I will not make any deals with you. I’ve resigned. I will not be pushed, filed, stamped, indexed, [...]
Lonely Men: An American Encounters Sorrentino
Posted by Aymar Jean Christian on June 6th, 2009
Tweet Many thanks to Thessaloniki Film Festival for linking! This post in honor of Il Divo opening in Philadelphia at one of the Ritz theatres. Cinema loves impenetrable men. Orson Welles in Citizen Kane, a film forever collecting critical largess, proves this. So do other protagonists in other evidently great films, including Humphrey Bogart in [...]
This Old French House: Summer Hours review
Posted by Aymar Jean Christian on May 8th, 2009
Tweet Summer Hours (dir. Olivier Assayas) Summer Hours tackles surprisingly rich themes for its superficially stereotypical setting and concerns. (Grade: A-) The marketing for Summer Hours traffics in well-worn French clichés: a summer house in the south, plenty of wine, and well-aged French people with useless jobs in the arts, academy and design. There are [...]
Il Divo: If Scorsese Married Welles…
Posted by Aymar Jean Christian on April 30th, 2009
Tweet Aymar Jean Christian Il Divo is the best political mafia movie in years. (Grade: A-) Visit Splice Today It’s a cliché to label directors as sons and daughters of other ones, but it seems appropriate in the case of Paolo Sorrentino, because his films are so concerned with style—lighting, framing, camerawork—and creating a viewing experience [...]
