CRIME & PUNISHMENT: LE CERCLE ROUGE (1970)

August 10, 2017: FilmStruck is currently streaming 11 films featuring Alain Delon as part of their “Icons: Alain Delon” theme and for the next 4 weeks I’ll be spotlighting a few of my favorite titles in this collection. To learn more about the French actor please see a previous post I wrote in 2010 to celebrate …

HONOR AMONG THIEVES: FAREWELL, FRIEND (1968)

In the tradition of classic French heist films such as Touchez pas au grisbi (1954), Rififi (1955) and Bob le flambeur (1956), Farewell, Friend (aka Honor Among Thieves, 1968) takes viewers on a treacherous adventure where femme fatales lurk around every shadowy corner and crime rarely pays. But that doesn’t stop some fortune hunters from risking everything to make a quick buck or in …

Donald Ogden Stewart: Katharine Hepburn’s Secret Weapon in KEEPER OF THE FLAME (1943)

You may not recognize Donald Ogden Stewart’s name but if you are a classic film fan you’re probably familiar with his work. Stewart’s ability to write snappy dialogue and adapt popular plays for the screen made him one of the highest paid screenwriters in Hollywood during the 1930s and 1940s. And throughout his career, Stewart …

Triad Theater: THE MISSION (1999)

Shakespearean in its scope and operatic in its execution, THE MISSION (‘99) remains one of the most taut, compelling and superbly composed films made in Hong Kong during the 1990s. This sinewy thriller helped cement Johnnie To’s reputation as one of today’s most accomplished action directors and you can currently catch it streaming on FilmStruck …

RECONSTRUCTING FRANKENSTEIN: SPARK OF BEING (2010)

This year marks the 200th anniversary of Mary Shelley’s Frankenstein, which was originally published in 1818. Shelley was just 19 years old when she first conceived of this classic piece of Gothic fiction, and since the book’s release it has been adapted for the large and small screen many times. One of the most unusual …

Surrealist Cinema: PANDORA AND THE FLYING DUTCHMAN (1951)

“There was more surrealism rampant in Hollywood than all the surrealists could invent in a lifetime.” – Man Ray   In 1940, Man Ray fled war-torn France and arrived in Hollywood. The acclaimed surrealist, who was born in the United States but relocated to Paris in 1921, spent the next eleven years in California making …

Reassessing the Critical Response to PEEPING TOM (1960)

When you mention PEEPING TOM (’60) to classic film fans the response is typically “That’s the movie that ended Michael Powell’s career!” and a quick Google search will unearth countless critics and film historians repeating a similar refrain. While it is true that PEEPING TOM received a brutal lashing from the British critical establishment that …

New Look & New Content

I recently gave Cinebeats a  makeover. I've also begun the arduous task of moving 7 years of film writing for TCM/FilmStruck (some 400+ articles) to my blog but it's going to take me months to complete the task. Like many others, I was also knocked for a loop when Photobucket decided to charge users $400 a …

Survival Instincts: THE INSECT WOMAN (1963)

THE INSECT WOMAN (’63) is not easy viewing. Shôhei Imamura’s film recounts the hard-fought life of Tome (Sachiko Hidari), a fatherless peasant woman born into abject poverty in rural Japan. Beginning with her birth in 1918 and concluding sometime after WWII, the film takes place over three turbulent decades in which Tome faces sexual abuse …

Japan’s Home Alone: ALL MONSTERS ATTACK (1969)

Forget the overplayed John Hughes comedy HOME ALONE (’90). If you want to watch a fun family-friendly film during the holidays look no further than ALL MONSTERS ATTACK (’69) now streaming on the Criterion Channel of FilmStruck. This kinder and gentler Godzilla sequel was designed to appeal to kids of all-ages and features a young …

Noir-Horror: THE LEOPARD MAN (‘43)

“The real horror is to show that we all live unconsciously in fear. Many people suffer today from a fear that they don’t begin to analyze and which is constant. When the audience is in the dark and recognizes its own insecurity in that of the characters of the film, then you can show unbelievable …

BORIS KARLOFF IS THE BODY SNATCHER (1945)

Director Robert Wise is widely regarded as a journeyman filmmaker with no defining traits or distinct talents. In The American Cinema: Directors And Directions 1929-1968 critic Andrew Sarris famously labeled Wise’s output as “strained seriousness” asserting that the director’s “stylistic signature . . . is indistinct to the point of invisibility.” David Thompson parroted these claims in …