Federico Fellini‘s La Strada delivers one of the saddest and most fully satisfying endings in cinema history (providing you see the entire film before it), and surely one of the most penetrating moments ever from Anthony Quinn. He’s hearing words as clearly as Charlton Heston did when he knelt before the burning bush in The Ten Commandments. Did Lars Von Trier “steal” from this in a sense when he decided on the heavenly bells visual at the end of Breaking The Waves?
Roughly two months ago a very early draft of Eric Roth‘s screenplay for Killers of the Flower Moon (dated 2.20.17,...
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Frances McDormand‘s Fern was strong but mule-stubborn and at the end of the day self-destructive, and this stunted psychology led...
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Can’t decide which performance is better, although I’ve always leaned toward Tina Vitale, her cynical New Jersey moll behind the...
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Two days ago (1.19) a Facebook tribute congratulated Tippi Hedren for having reached her 94th year (blow out the candles!)...
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A friend suggested a list of the Ten Best American Crime Flicks of the ‘70s. By which he meant films...
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I’ve never been able to give myself over to Sam Peckinpah’s Major Dundee, a 1965 Civil War–era western, and I’ve...
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