Dr. Akagi

Written by Matt Zoller Seitz on . Posted in Arts & Film, Posts

Dr. Akagi directed by Shohei Imamura The first time we see Dr. Akagi (Akira Emoto), he’s running. Not jogging, really running. Lungs heaving, arms pumping, shoes going slap-slap-slap on the ground as he rushes madly through the streets of his seaside hamlet. Like a man desperately hoping to prevent a murder a mile away–or a man hounded by unseen [&hellip
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The Swindle

Written by Armond White on . Posted in Arts & Film, Posts

The Swindle directed by Claude Chabrol   Mississippi Mermaid directed by François Truffaut Chabrol continues the New Wave interest in forcing movies to reveal the nature of human behavior by manipulating dramatic and social conventions. Typically combining once familiar genres–the heist comedy and the romantic adventure–Chabrol causes viewers to reconsider their responses. His ease at showing the hidden psychology of Victor (Michel Serrault) [&hellip
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Another Day in Paradise

Written by Armond White on . Posted in Arts & Film, Posts

Another Day in Paradise directed by Larry Clark Levi’s new tv ad features a pig-faced young actress who might have been in Larry Clark’s odious, factitious debut film Kids. She stares into the camera, bright and insolent, giving an insipid political testimony: “I think you ought to work for what you get. Like a big house, nobody should give that to [&hellip
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Private Confessions

Written by Godfrey Cheshire on . Posted in Arts & Film, Posts

Private Confessions directed by Liv Ullmann Early in Private Confessions, the latest film written by Ingmar Bergman, Anna Bergman (Pernilla August), a young wife, goes to an elderly clergyman named Jacob (Max von Sydow) to confess that she’s been violating her marriage vows by having an affair with a theology student. “Confession,” though, is a slightly tricky proposition here, since Martin Luther [&hellip
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The Faculty

Written by Matt Zoller Seitz on . Posted in Arts & Film, Posts

The Faculty directed by Robert Rodriguez Hop in the Way Back Machine with me, dear Sherman, and we will revisit 1992. That was a year when hard-luck indie filmmaker stories still seemed fresh, and Robert Rodriguez trumped everybody. The struggling Austin auteur became an international sensation with El Mariachi, an amusing Tex-Mex Western spoof shot for $7000 or thereabouts, designed [&hellip
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