For Rohmer, himself a cinephile of the most avid variety, summer is not a time of planned activity so much as planned inactivity that, in turn, allows for only the most passive of vacations.
The results of Double Exposure's 2014 Year End Contributor's Poll! Plus contributors on the films for which they were the lone booster.
The exciting possibilities of more extensive 3D restoration are clear from this first showcase. The different films provided a broad range of interesting, well-crafted cinema, in re-mastered versions of their intended format, otherwise lost to the past.
Scarlett Johansson as the alien skinwalker in Under the Skin becomes her own voyeur, internalizing the reactions of others, imagining and wondering about her body as an object.
These are problematic that become increasingly relevant in an age where our social and visual relations are more and more defined by our technologies. Increasingly the push against these factors has increased, but Paik’s exhibit asks us to find something different in these problems: joy.
The Femme Fatale—one of the most recognizable motifs in the pulp universe, and the inspiration for an extensive current repertory series at Film Forum—is as essential a component of American noir as jazz, black and white photography, and urban hopelessness.
Hitchcock’s title sequences are miniatures of his movies, confirming all of his artistic quirks and credos. They acknowledge their artificiality and still manage to be hugely entertaining in their own right.
The critical response to To the Wonder, so disheartening in its near-unanimous exasperation, seems to me incommensurate with the movie itself, which I watched and loved one idle December night after a copy of it had landed in my lap.
Computer Chess is nothing less than an origin myth: a glance at the moment when the difference between people and computers first became indiscernible. Its miniscule budget and limited setting might make it look small, but its intellectual reach is encyclopedic.
The ‘Rotten Tomatoes’ or ‘Metacritic’ effect means, beyond their initial critical reception, films are often denied the opportunity to reach their intended audiences. This year I cannot think of a film more critically maligned and shamelessly overlooked than M. Night Shyamalan’s After Earth.