Favorites are last four first watches rated four stars or higher.
This review may contain spoilers. I can handle the truth.
I watched this on Amazon Prime where it looked like it was ripped from a ratty VHS tape. Even with that, though, it was clear from the very beginning that this was one of the best looking noirs I'd ever seen. Being that it's shot by the master photographer of this genre, John Alton, that shouldn't have been much of a surprise.
Of course its got moody urban sequences, both exteriors and apartments at night with shafts of…
A pitch perfect portrait of young adulthood. Starts on a reflection and ends on a song. Eschews conventional resolutions and plotting in favor of highlighting small moments of interaction (a particular delight is the police station scene, which finds comedy in bickering and a misunderstanding and the movement of an ink well). Both heartwarming and bittersweet, Walking the Streets of Moscow features an impeccable mis en scene from director George Daneliya, who keeps moving characters around inside cluttered widescreen frames…
RIP Olivia de Havilland. She gives the kind of performance here that critics might describe as a "tour de force" (whatever that means). The Snake Pit is completely captivating whenever she's on screen. Unfortunately, I did find the flashbacks and the stuff with the husband to be a bit deflating. I suppose you could view it as a bit of a release valve on the tension, but I'd have rather stayed next to Olivia in the snake pit the whole…
Film #4 for Movie Club
Code Unknown features a prologue wherein a group of deaf children are trying to guess the idea that one of their classmates is attempting to express. A little girl cowers down into a corner and the other children offer ideas: sad? scared? imprisoned? Haneke ends the scene before any of the children guess correctly, and subsequently gives us a preview of what we're about to watch: people trying and failing to understand each other.