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Equal parts surrealist thriller and paranoid satire, it anticipated the assassination of an American president
It’s easy to forget what a dubious proposition the Beatles remained for many, who watched them half a century ago this week on TV’s "Ed Sullivan Show"
"I was born when you kissed me, I died when you left me, I lived a few weeks while you loved me."
The contradiction, at once ironic and grand, of Malcolm X is that it’s a thoroughly old-fashioned studio biopic made by indie maverick Spike Lee about an African-American radical living in a time during which everything felt revolutionary.
A cowboy-besotted Italian, Sergio Leone created the West of his imagination, which in the case of this picture is some fantasia of Monument Valley blended with Spain.
This picture was shot in the crazed depths of the Amazon where, the Method running amok, everyone seemed to go as crazy as the movie’s band of 16th-century conquistadors pursuing El Dorado.
If Raging Bull was De Niro’s labor of love, Scorsese had less at stake emotionally, unless saving his own life counts, which may explain why this is the filmmaker’s most formal accomplishment.
The quintessential comedy of manners, French filmmaker Jean Renoir’s masterpiece involves one of cinema’s most familiar set-ups.
Nicholson’s pursuit of the truth, apparently out of sheer obstinacy more than idealism, hints at a town where there are secret lives inside artificial ones inside secret ones.
Russian director Andrei Tarkovsky’s “stalker” longs to be a holy fool if only he can find the faith in this spellbinding film that visually unfolds in steampunk sepias and inky miasmas.