Most Wanted
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Ishtar
(May, 1987)
The Seven-Per-Cent Solution (OOP)
(Ross, 1976)
The Devils
(Russell, 1974)
The Pirates of Penzance
(Papp/Leach, 1983)
The Fortune
(Nichols, 1975)
-30-
(Webb, 1959)
Betrayal
(Jones, 1983)
Play It As It Lays
(Perry, 1972)
The Outfit
(Flynn, 1973)
Alex in Wonderland
(Mazursky, 1969)
The Legend of Lylah Clare
(Aldrich, 1968)
In The Cool of the Day
(Stevens, 1963)
That Cold Day in the Park
(Altman, 1969)
Thumb Trippin'
(Masters, 1972)
Midas Run
(Kjellin, 1969)
At Long Last Love
(Bogdanovich, 1973)
Brewster McCloud
(Altman, 1972)
Outcast of the Islands
(Reed, 1951)

Reader Submissions

1930's-1950's
The Moon's Our Home
(Seiter, 1936)
Sh! The Octopus
(McGann, 1937)
The Mating Season
(Leisen, 1951)
Bad for Each Other
(Rapper, 1953)
The Phenix City Story
(Karlson, 1955)
Run of the Arrow
(Fuller, 1956)
House of Secrets
(Green, 1956)
Saint Joan
(Preminger, 1957)
Macabre
(Castle, 1958)
The Fiend Who Walked the West
(G. Douglas, 1958
Five Gates to Hell
(Clavell, 1959)
1960's
Key Witness
(Karlson, 1960)
Summer and Smoke
(Glenville, 1961)
The Chapman Report
(Cukor,1962)
Bachelor Flat
(Tashlin, 1962) [on Hulu]
The L Shaped Room
(Forbes, 1963)
The Chalk Garden
(Neame, 1964)
A Thousand Clowns
(Coe, 1965)
You're a Big Boy Now
(Coppola, 1966)
The Whisperers
(Forbes, 1967)
Dark of the Sun
(Cardiff, 1968)
Skidoo
(Preminger, 1968)
Last Summer
(Perry, 1969)
The Comic
(C. Reiner, 1969)
1970-1974
The Revolutionary
(Williams, 1970)
The Landlord
(Ashby, 1970)
Diary of a Mad Housewife
(Perry, 1970)
Tropic of Cancer
(Strick, 1970)
I Never Sang for My Father
(Cates, 1970)
Sometimes a Great Notion
(Newman, 1971)
Marriage of a Young Stockbroker
(Turman, 1971)
The Music Lovers
(Russell, 1971)
Drive, He Said
(Nicholson, 1971)
The Steagle
(Sylbert, 1971)
The Last Movie
(Hopper, 1971)
Made For Each Other
(Bean, 1971)
The Day the Clown Cried
(Lewis, 1972)
Hickey & Boggs (OOP)
(Culp, 1972)
The Carey Treatment
(Edwards, 1972)
Pete 'n' Tillie
(Ritt, 1972)
Slither
(Zieff, 1973)
Man on a Swing
(Perry, 1974)
Open Season
(Collinson, 1974)
The Tamarind Seed
(Edwards, 1974)
Law and Disorder
(Passer, 1974)
Homebodies
(Yust, 1974)
Stardust
(Apted, 1974)
Celine and Julie Go Boating
(Rivette, 1974)
1975-1979
Rafferty and the Gold Dust Twins
(Richards, 1975
At Long Last Love
(Bogdanovich, 1975)
Hearts of the West
(Zieff, 1975)
Welcome to L.A.
(Rudolph, 1976)
W.C. Fields and Me
(Hiller, 1976)
Citizens Band
(Demme, 1977)
Twilight's Last Gleaming
(Aldrich, 1977)
Looking for Mr. Goodbar
(Brooks, 1977)
Girlfriends
(Weill, 1978)
Movie Movie
(Donen, 1978)
The Medusa Touch
(Gold, 1978)
American Hot Wax
(Mutrux, 1978)
Hot Stuff
(DeLuise, 1979)
Scavenger Hunt
(Schultz , 1979)
Players
(Harvey, 1979)
Rich Kids
(Young, 1979)
Nightwing
(Hiller, 1979)
Screams of a Winter's Night
(Wilson, 1979
When You Comin' Back Red Ryder?
(Katselas, 1979
1980's
Resurrection
(Petrie, 1980)
The Awakening
(Newell, 1980)
Simon
(Brickman, 1980)
God's Angry Man
(Herzog, 1980)
Fast-Walking
(Harris, 1982)
Twice Upon a Time
(Korty & Swenson, 1983)
Trouble in Mind
(Rudolph, 1985)
When the Wind Blows
(Murikami, 1986)
Housekeeping
(Forsyth, 1987)
The Glass Menagerie
(Newman, 1987)
Patty Hearst
(Schrader, 1988)
Drowning by Numbers
(Greenaway, 1988)
Haunted Summer
(Passer, 1988)
The Decline of Western Civilization Part II: The Metal Years
(Spheeris, 1988)
1990's
Old Times
(Curtis, 1991)
Prospero's Books
(Greenaway, 1991)
City of Hope
(Sayles, 1991)
The Baby of Macon
(Greenaway, 1993)
King of the Hill
(Soderbergh, 1993)
Dadetown
(Hexter, 1995)
SubUrbia
(Linklater, 1997)

Che Needs It

The Village Voice's Jim Hoberman has called Steven Soderbergh's Che a "single-minded meditation on the practice of guerrilla warfare, the creation of militant superstardom, and the nature of objective camera work[that] is at once visceral and intellectual, sumptuous and painful, boldly simplified and massively detailed.

"Despite this, as well as a commendable performance by Benicio Del Toro, Che may require its own miracle -- or at least a few angels -- to reach an audience in the form Soderbergh intended. While the first half could certainly be tightened, the movie demands to take its time and be taken in at a single sitting. One can only hope that the world beyond Cannes will get the opportunity to do so at something approaching the original running time."

One thing discussed yesterday about Che's chance of winning the Palme d'Or (but which I didn't mention in my same-day riff about same) is that everyone on the jury knows that Che, in part because certain humbuggers are saying it's not releasable in the U.S. in its current form, really needs the Palme d'Or to give it a psychological leg up. Which is why I suspect they'll act accordingly.

Posted by Jeffrey Wells on May 24, 2008 at 6:54 AM

comment #1

PaulKolas Author Profile Page says ...

That Spanish trailer for "The Curious Case of Benjamin Button" has me a lot more excited than your OCD mania for "Che".

Posted by PaulKolas Author Profile Page at May 24, 2008 7:29 AM

comment #2

erniesouchak Author Profile Page says ...

This description makes "Che" sound like "Jeanne Dielman" for Marxist revolutionaries.

Posted by erniesouchak Author Profile Page at May 24, 2008 7:50 AM

comment #3

David Ehrlich Author Profile Page says ...

yeah, the reality is that jeff is in the minority with his opinion about che, and it won't win the palm d'or. i just don't see that happening.

is the benjamin button trailer eligible for the palm?

Posted by David Ehrlich Author Profile Page at May 24, 2008 7:58 AM

comment #4

Josh Martin Author Profile Page says ...

One thing discussed yesterday about Che's chance of winning the Palme d'Or (but which I didn't mention in my same-day riff about same) is that everyone on the jury knows that Che, in part because certain humbuggers are saying it's not releasable in the U.S. in its current form, really needs the Palme d'Or to give it a psychological leg up. Which is why I suspect they'll act accordingly.

There are probably a dozen films in the main competition more "unreleaseable" in the U.S. than Che -- if we're going to hand out Palme d'Ors based on who needs a "psychological leg up", I'm not sure a Steven Soderbergh film starring Benicio del Toro should even be in the running. (And you can rest assured that Che won't be released "in its current form" in the U.S. or anywhere else, with or without the Palme -- it was screened unfinished, after all.)

Posted by Josh Martin Author Profile Page at May 24, 2008 10:16 AM

comment #5

filmfan Author Profile Page says ...

With names like Soderbergh and del Toro attached to it Che does not need to win the Palm. Waltzing with Bichar needs it more. And so do many of the other films. So let's see what the jury comes up with tomorrow.

Posted by filmfan Author Profile Page at May 24, 2008 2:35 PM

comment #6

Ogami Itto Author Profile Page says ...

There are probably a dozen films in the main competition more "unreleaseable" in the U.S. than Che -- if we're going to hand out Palme d'Ors based on who needs a "psychological leg up", I'm not sure a Steven Soderbergh film starring Benicio del Toro should even be in the running.

From each according to his ability, to each according to his need -- isn't that what Ernesto "Che" Guevara and Fidel Castro stood for? And wouldn't it be ironic (and pathetic, really) if two multimillionaire artists like Soderbergh and del Toro where to benefit from that mindset?

Posted by Ogami Itto Author Profile Page at May 24, 2008 7:11 PM

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