• About Me
  • John Charet’s Favorite Westerns
  • My 234 Favorite Directors of All-Time (Alphabetical Order)

cinematiccoffee

~ Fine Conversations About Cinema

cinematiccoffee

Tag Archives: 1986

Moviedrome Mondays: Gothic (1986) and The Navigator: A Medieval Odyssey (1988)

28 Sunday Feb 2021

Posted by John Charet in Alex Cox, Moviedrome

≈ 15 Comments

Tags

1986, 1988, Gothic, The Navigator: A Medieval Odyssey

This Moviedrome Monday entry is yet another double bill – this one features two films involving period settings.

Gothic (1986)

Since I could not find a youtube video link of Moviedrome presenter Alex Cox introducing flamboyant master filmmaker Ken Russell’s 1986 period horror item Gothic, readers will have to rely on Cox’s intro transcript here. The episode’s original airdate was July 11, 1993 (read here). Even with Cox’s positive reaction to the film, I have a feeling that I love Gothic more than he does. Though Cox does find fault with Thomas Dolby’s soundtrack, I was personally cool with it. Directed by Ken Russell, this fictionalized take on the origin of 19th-century writer Mary Shelley’s 1818 novel Frankenstein is typically (and I mean that as a compliment) idiosyncratic in every way possible. If any of you readers are interested, here is a link to my favorite Ken Russell films (read here).

Here is a youtube video link to the film’s original theatrical trailer

The Navigator: A Medieval Odyssey (1988)

Once again I could not find a youtube video link of Moviedrome presenter Alex Cox introducing visionary director Vincent Ward’s idiosyncratic 1988 fantasy adventure The Navigator: A Medieval Odyssey, readers will have to rely on Cox’s intro transcript here. The episode’s original airdate was July 12, 1993 (read here). Having not seen this film in the longest time, I am afraid that I can’t agree or disagree with Cox’s comments on it.

Here is a youtube video link to the film’s original theatrical trailer

Moviedrome Mondays: Manhunter (1986)

16 Sunday Aug 2020

Posted by John Charet in Alex Cox, Moviedrome

≈ 16 Comments

Tags

1986, Manhunter

I have posted a youtube video link below to Moviedrome presenter Alex Cox’s introduction to director Michael Mann’s 1986 Neo-Noir/psychological horror/mystery/thriller Manhunter. Readers can also read Cox’s intro transcript here. The episode’s original airdate was August 4, 1991 (read here). As much as I enjoy Cox’s commentaries (this one included), I must say that he is totally off the mark here. Granted, Jonathan Demme is the better director, The Silence of the Lambs does not rank among his finest work. As with that 1991 Oscar-winning hit, Manhunter was adapted from a Thomas Harris novel (Red Dragon) and also featured convicted serial killer Dr. Hannibal Lector (last name appears as “Lecktor” in this film) as one of it’s characters. Unlike Lambs though, there is actually more to Manhunter than meets the eye. On the surface, Manhunter plays out as little more than a standard police procedural, but at the center, it is director Mann’s visual style that intentionally powers the film. The highlights in this case would be cinematographer Dante Spinotti’s stylish use of color and an atmospheric rock soundtrack. Also, despite his limited screen time, I always felt that co-star Brian Cox’s turn as Dr. Hannibal Lector was superior to that of Anthony Hopkins. Whereas Hopkins portrayal bordered on camp, Cox’s Lector comes off as down-to-earth, which only makes his presence more unsettling.

Here is a youtube video link to Alex Cox’s Moviedrome intro to Manhunter


Here is a youtube video link to the film’s original theatrical trailer

Moviedrome Mondays: At Close Range (1986)

26 Sunday Jul 2020

Posted by John Charet in Alex Cox, Moviedrome

≈ 12 Comments

Tags

1986, At Close Range

Welcome back my dear readers for my first Moviedrome Monday entry in 4 weeks. Glad to be back though 🙂 Since I could not find a youtube video link of Moviedrome presenter Alex Cox introducing director James Foley’s 1986 Neo-noir/crime drama At Close Range (reportedly based on a true story), readers will have to rely on Cox’s intro transcript (read here). The episode’s original airdate was July 14, 1991 (read here). This stylish film benefits largely from two things – superb performances from it’s entire cast (especially Sean Penn and Christopher Walken) and Madonna’s emotionally charged song Live to Tell, which is (based on my knowledge) played in instrumental form here (been a while since I have seen it). Nevertheless, the drama never really ignites like it should – maybe uninvolving is too strong a word on Cox’s part, but he is right that something essential is missing from it. All in all, a good (If not very good) film, but not a great one.

Here is a youtube video link to the film’s original theatrical trailer

Here is a youtube video link to a music video of Madonna’s aforementioned song Live to Tell

Moviedrome Mondays: Something Wild (1986)

07 Sunday Jun 2020

Posted by John Charet in Alex Cox, Moviedrome

≈ 8 Comments

Tags

1986, Something Wild

I have posted a youtube video link below to Moviedrome presenter Alex Cox’s introduction of director Jonathan Demme’s 1986 quirky romantic comedy Something Wild. Readers can also read Cox’s intro transcript here. The episode’s original airdate was June 9, 1991 (read here). Lots of positive things can be said about Something Wild as Cox so eloquently implies. For starters, the chemistry between it’s lead actors Jeff Daniels and Melanie Griffith is simply delightful and along the ride, we get a breakthrough supporting performance from future Goodfella Ray Liotta as a violent tempered ex-convict. Though it may seem uneven on the surface, at the center, the buildup to the film’s shocking climax, actually comes off as 100 percent believable in it’s unpredictability. For an unrelated example, based on real life as a whole, an individual’s day can start happy and remain that way before ending (unexpectedly) in tragedy. Last, but not least, viewers are treated to an eclectic soundtrack that ranges from rock (Fine Young Cannibals), new wave (Oingo Boingo) and reggae (Jimmy Cliff) among others. If you readers are interested in reading a list of my favorite Jonathan Demme films, read here.

Here is a youtube video link to Alex Cox’s Moviedrome intro to Something Wild

Here is a youtube video link to the film’s original theatrical trailer

Moviedrome Mondays: Vamp (1986)

24 Sunday May 2020

Posted by John Charet in Alex Cox, Moviedrome

≈ 12 Comments

Tags

1986, Vamp

I have posted a youtube video link below to Moviedrome presenter Alex Cox’s introduction to director Richard Wenk’s 1986 comedic horror film Vamp. Readers can also read Cox’s intro transcript here. The episode’s original airdate was May 26, 1991 (read here). Not unlike Night of the Comet and Trancers (two 1984 flicks that also aired on Moviedrome), Vamp is little more than an enjoyable 1980’s low-budget B-movie, but there is absolutely nothing wrong with that.

Here is a youtube video link to Alex Cox’s Moviedrome intro to Vamp


Here is a youtube video link to the film’s original theatrical trailer

Moviedrome Mondays: Down by Law (1986)

10 Sunday May 2020

Posted by John Charet in Alex Cox, Moviedrome

≈ 5 Comments

Tags

1986, Down by Law

Since I could not find a youtube video link of Moviedrome presenter Alex Cox introducing indie director/writer Jim Jarmusch’s 1986 deadpan crime comedy Down by Law, readers will have to rely on a page in the book of an old Moviedrome guide (read here), since the link to that episode transcript is missing (read here). The episode’s original airdate was September 9, 1990 (read here). As with Jarmusch’s previous film Stranger than Paradise (released two years earlier in 1984), Down by Law is another delightfully deadpan comedy with a European flavor. Like Paradise before it, Down by Law is photographed in black-and-white – this time by the late great Robby Muller. Nevertheless, the b&w cinematography on both films lend a poetic touch to the result. Last, but not least, the always wonderful musician Tom Waits, John Lurie (from Paradise), and Italian comedian Roberto Benigni complete the film. On an unrelated note, here is an interesting piece of trivia: Down by Law was the last film shown on Series 3 of Moviedrome in 1990. Next week, I will begin with Series 4 from 1991. If you are interested in reading a list of my favorite Jim Jarmusch films, read here.

Here is a youtube video link to the film’s original theatrical trailer

John Charet’s Take On: From Beyond (1986)

27 Friday Oct 2017

Posted by John Charet in 1980's Cinema, American Cinema, American Filmmakers, Cinema, Horror, Science Fiction, Stuart Gordon

≈ 7 Comments

Tags

1986, From Beyond, Stuart Gordon

A year after he made his rollicking directorial debut with Re-Animator, independent filmmaker Stuart Gordon decided to quickly, but effectively follow it up with another H.P. Lovecraft adaptation using most (If not all) of that previous film’s cast and crew. Instead of trying to exceed his expectations though, Gordon has wisely chosen to limit (or lower) them considerably by focusing more on making the most of his capabilities as a filmmaker. Luckily enough for Gordon, From Beyond has turned out to be another delightfully gruesome rollercoaster ride of a horror movie.

Mad scientist Dr. Edward Pretorius (Ted Sorel) and his lab assistant Dr. Crawford Tillinghast (Jeffrey Combs) create a radical invention called The Resonator, a machine that stimulate’s the pineal gland of anybody who comes into close contact with it. While testing out The Resonator, Pretorius becomes dangerously obsessed with it leading to his mysterious decapitation. When his body is discovered by the police, Tillinghast is arrested for murder and (soon enough) is committed to a psychiatric ward.

Unlike the rest of the staff at the hospital, female psychiatrist Dr. Katherine McMichaels (Barbara Crampton) sincerely believes that Tillinghast is innocent especially after he undergoes a brain scan revealing a grown pineal gland. The doctors release Tillinghast (albeit reluctantly) into McMichaels custody so he can show her and accompanying detective Bubba Brownlee (Ken Foree) how the machine works.

Not long after coming back to the house, a hesitant Tillinghast reactivates The Resonator so McMichaels and Brownlee can see what it is all about. During the process however, a now grotesque looking Prestorius physically appears and reveals that his stimulated pineal gland allowed him to experience a parallel universe (one involving monsters in this case) beyond the normal one the three of them are currently living in. Before he can viciously prey upon them, Tillinghast angrily shuts off the power and advises McMichaels and Brownlee to keep it that way. Sooner or later though, things get so out of control that the option of destroying the rapidly mutating Pretorius and his machine becomes inevitable.

Since most (If not all) of the action is confined to that of Dr. Pretorius creepy house/laboratory, it is only fitting that director Stuart Gordon would cleverly treat From Beyond as If it were the cinematic equivalent of a funhouse. As he did with Re-Animator, Gordon puts on a wonderfully gory show full of all sorts of tricks and treats. The highlights here include a man getting completely devoured by flying insect-like things, the eating of a human brain, a pineal gland bursting from a man’s forehead and the rapidly mutating body of an already deformed Dr. Pretorius. In addition to all of that, we get some pretty awesome special effects in the form of a giant worm monster and the previously mentioned nasty flying creatures that feast upon human flesh. To top it all off, Gordon throws in a considerable amount of S&M (i.e. sadomasochism) as a much-needed bonus.

Last, but not least, part of what makes From Beyond such a satisfying experience comes from its two lead actors, who complement each other here. In this case, we have Jeffrey Combs eccentric Dr. Crawford Tillinghast serving as the perfect anti-hero to Dr. Katherine McMichaels damsel in distress/anti-heroine, who is played with relish here by the great Barbara Crampton. Her McMichaels character is not only beautiful and intelligent, but likable as well. At the same time though, she comes off as ambitious and tragic. Unlike Tillinghast, she feels that The Resonator has the potential to do a lot of good like curing schizophrenia. Speaking of which, she reveals in one heartbreaking scene that her father was committed to a psychiatric ward due to suffering from that and lived there until he died. This background story of hers not only makes us sympathize with her as a human being and a doctor, but it also makes us root for her every step of the way as well. Similar to Tillinghast, McMichaels becomes emotionally damaged and occasionally turned on by the machine and one of the examples of the latter involves a brief flirtation with S&M. In the case of the former, I can only say that by the last scene before the end credits roll, it becomes abundantly clear just how traumatized she has become after all of these events. Aside from looking sexy in a leather and bondage outfit, Crampton also looks cute in a lab coat, a hospital gown, a long-sleeved nightgown and all in all, anything in general. As much as I adored her acting work in Re-Animator, Castle Freak and We Are Still Here, her characterization here of Dr. Katherine McMichaels still ranks as my personal favorite of her performances within the horror genre. As I said in my review of Re-Animator (read here), this gorgeous blonde ranks as my number one favorite scream queen of all-time. Ken Foree lends welcome support as Detective Bubba Brownlee and unlike Tillinghast and McMichaels, he is quite possibly the only one who does not break the rules. Ted Sorell is convincing as the villainous Dr. Edward Pretorius and yes, he is every bit as perverted as David Gale’s Dr. Carl Hill from Re-Animator. Interesting bit of trivia, the film’s tagline of “humans are such easy prey” is also said by him in the film.

When all is said and done, From Beyond ultimately works as a worthy companion piece to Re-Animator thanks in large part to director Stuart Gordon’s avoidance of trying to surpass it and as a result, ends up equaling it instead. At its heart though, From Beyond is really just a deeply satisfying horror film that’s also a lot of fun.

-(Star Rating)-
* * * * (Out of * * * *)

Recent Posts

  • Moviedrome Mondays: The Long Riders (1980)
  • No New Post Today
  • Moviedrome Mondays: Run of the Arrow (1957) and Verboten! (1959)
  • Moviedrome Mondays: Django (1966) and Grim Prairie Tales (1990)
  • Moviedrome Mondays: Rebel Without a Cause (1955) and 200 Motels (1971)

Archives

  • April 2021
  • March 2021
  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2019
  • November 2019
  • October 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • December 2017
  • October 2017
  • September 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • January 2017
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • April 2015
  • November 2014
  • March 2014
  • October 2013
  • September 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • December 2012
  • November 2012
  • October 2012

Categories

  • 1920's Cinema
  • 1930's Cinema
  • 1940 Comedies
  • 1940's Cinema
  • 1950's Cinema
  • 1960's Cinema
  • 1970's Cinema
  • 1980's Cinema
  • 1990's Cinema
  • 2000's Cinema
  • 2010's Cinema
  • 2010-Present Cinema
  • 2020 Cinema
  • Abbas Kiarostami
  • Abel Gance
  • Action
  • Adventure
  • African American Cinema
  • African American Filmmakers
  • Agnes Varda
  • Akira Kurosawa
  • Alain Resnais
  • Alan Clarke
  • Alan Rudolph
  • Albert Brooks
  • Alex Cox
  • Alexander Mackendrick
  • Alfonso Cuaron
  • Alfred Hitchcock
  • Alfred L. Werker
  • Algerian Cinema
  • American Actors
  • American Cinema
  • American Film Critics
  • American Filmmakers
  • Andre De Toth
  • Andre Techine
  • Andrei Tarkovsky
  • Andrzej Wajda
  • Animation
  • Anime
  • Anthology
  • Anthology Films
  • Anthony Mann
  • Apichatpong Weerasethakul
  • Arabic Cinema
  • Argentine Filmmakers
  • Armenian Cinema
  • Arthur Penn
  • Atom Egoyan
  • Australian Cinema
  • Australian Filmmakers
  • Austrian Cinema
  • Austrian Filmmakers
  • B Cinema
  • Bela Tarr
  • Belgian Cinema
  • Belgian Filmmakers
  • Ben Wheatley
  • Bernardo Bertolucci
  • Bill Forsyth
  • Billy Wilder
  • Biography
  • Black Comedies
  • Bob Fosse
  • Bong Joon-ho
  • Box Sets
  • Brad Bird
  • Brazilian Cinema
  • Brian De Palma
  • Brian Taylor
  • British Cinema
  • British Filmmakers
  • Bruno Dumont
  • Budd Boetticher
  • Buster Keaton
  • Cable/Television
  • Canadian Cinema
  • Canadian Filmmakers
  • Carl Theodor Dreyer
  • Carlos Reygadas
  • Chantal Akerman
  • Charles Burnett
  • Charlie Chaplin
  • Chicago
  • Chinese Cinema
  • Chinese Filmmakers
  • Chris Marker
  • Christopher Guest
  • Christopher Nolan
  • Christy Lemire
  • Cinema
  • Claire Denis
  • Claude Chabrol
  • Clint Eastwood
  • Comedies
  • Comedy
  • Compilation
  • Compilations
  • Concert Films
  • Crime
  • Crime Films
  • Cristian Mungiu
  • Cuban Cinema
  • Curt Oertel
  • Czech Cinema
  • Czech Filmmakers
  • D.W. Griffith
  • Damien Chazelle
  • Danish Cinema
  • Danish Filmmakers
  • Dario Argento
  • Dariush Mehjui
  • David Cronenberg
  • David Lowery
  • David Lynch
  • David O. Russell
  • Denis Villeneuve
  • Derek Jarman
  • Discussions of Cinema
  • Docufiction
  • Documentaries
  • Documentary
  • Documentary Shorts
  • Dolly Parton
  • Don Siegel
  • Douglas Sirk
  • Drama
  • Dusan Makavejev
  • Dutch Cinema
  • Dutch Filmmakers
  • Edgar G. Ulmer
  • Edgar Wright
  • Edmund Goulding
  • Elaine May
  • Elia Kazan
  • English Filmmakers
  • Epics
  • Eric Rohmer
  • Erich von Stroheim
  • Ernst Lubitsch
  • Errol Morris
  • Ethan Coen
  • Expressionism
  • F.W. Murnau
  • Family
  • Fantasy
  • Federico Fellini
  • Film Directors
  • Film Noir
  • Finnish Cinema
  • Forbidden Season
  • Francesco Rosi
  • Francis Ford Coppola
  • Francois Truffaut
  • Frank Borzage
  • Frank Capra
  • Frank Tashlin
  • Fred C. Newmeyer
  • French Cinema
  • French Filmmakers
  • Fritz Lang
  • G.W. Pabst
  • Gangster Films
  • Gaspar Noe
  • Gene Kelly
  • Gene Siskel
  • George A. Romero
  • George Abbott
  • George Miller
  • George Stevens
  • Georges Melies
  • German Cinema
  • German Filmmakers
  • Gillo Pontecorvo
  • Greatest
  • Greek Cinema
  • Greek Filmmakers
  • Guest Entries
  • Guillermo del Toro
  • Guy Maddin
  • Harold Lloyd
  • Hayao Miyazaki
  • Henri-Georges Clouzot
  • Henry Selick
  • Hirokazu Koreeda
  • History
  • Hong Kong Cinema
  • Hong Kong Filmmakers
  • Horror
  • Hou Hsiao-hsien
  • Howard Hawks
  • Hungarian Cinema
  • Hungarian Filmmakers
  • Icelandic Cinema
  • Ignatiy Vishnevetsky
  • Indian Cinema
  • Indian Filmmakers
  • Indo Canadian Filmmakers
  • Ingmar Bergman
  • Iranian Cinema
  • Iranian Filmmakers
  • Irish Cinema
  • Italian Cinema
  • Italian Filmmakers
  • Jacques Becker
  • Jacques Demy
  • Jacques Rivette
  • Jacques Tati
  • Jacques Tourneur
  • Jafar Panahi
  • James Whale
  • Jan Svankmajer
  • Jan Troell
  • Jane Campion
  • Japanese Cinema
  • Japanese Filmmakers
  • Jared Hess
  • Jean Cocteau
  • Jean Renoir
  • Jean-Luc Godard
  • Jean-Pierre Melville
  • Jerry Lewis
  • Jia Zhangke
  • Jim Jarmusch
  • Joe Dante
  • Joel and Ethan Coen
  • Joel Coen
  • John Carpenter
  • John Cassavetes
  • John Ford
  • John Frankenheimer
  • John Huston
  • John Landis
  • John M. Stahl
  • John Schlesinger
  • John Waters
  • John Woo
  • Johnny Mathis
  • Jonathan Demme
  • Jordan Vogt-Roberts
  • Josef von Sternberg
  • Joseph H. Lewis
  • Joseph L. Mankiewicz
  • Jules Dassin
  • Juzo Itami
  • Kathryn Bigelow
  • Keisuke Kinoshita
  • Kelly Clarkson
  • Kelly Reichardt
  • Ken Loach
  • Ken Russell
  • Kenji Mizoguichi
  • Kenneth Anger
  • Kim Jee-Woon
  • King Hu
  • King Vidor
  • Kon Ichikawa
  • Korean Cinema
  • Korean Filmmakers
  • Krzysztof Kieslowski
  • Larry Cohen
  • Lars von Trier
  • Leo McCarey
  • Leos Carax
  • Lina Wertmuller
  • Lists
  • Louis Feuillade
  • Louis Malle
  • Luchino Visconti
  • Luis Bunuel
  • Lynne Ramsay
  • Manoel de Oliveira
  • Marcel Carne
  • Mario Bava
  • Mark Neveldine
  • Mark Robson
  • Martin Scorsese
  • Masaki Kobayashi
  • Max Ophuls
  • Mel Gibson
  • Mexican Cinema
  • Mexican Filmmakers
  • Michael Cimino
  • Michael Powell and Emeric Pressburger
  • Michaelangelo Antonioni
  • Michel Gondry
  • Mike Leigh
  • Mikio Naruse
  • Miklos Jancso
  • Milos Forman
  • Miniseries
  • Mockumentary
  • Mohsen Makhmalbaf
  • Monte Hellman
  • Moviedrome
  • Music
  • Music Videos
  • Musical
  • Musicals
  • Mystery
  • Neo Noir
  • New Zealand Cinema
  • New Zealand Filmmakers
  • Nicholas Ray
  • Nick Park
  • Nicolas Roeg
  • Noah Baumbach
  • Norwegian Cinema
  • On the Side
  • Orson Welles
  • Otto Preminger
  • Ousmane Sembene
  • P.J. Hogan
  • Park Chan-wook
  • Paul Mazursky
  • Paul Thomas Anderson
  • Paul Verhoeven
  • Pedro Almodovar
  • Performance Film
  • Peter Bogdanovich
  • Peter Jackson
  • Peter Watkins
  • Phil Karlson
  • Philip Kaufman
  • Pier Paolo Pasolini
  • Pierre Etaix
  • Polish Cinema
  • Polish Filmmakers
  • Portuguese Cinema
  • Portuguese Filmmakers
  • Pre-1920's Cinema
  • Preston Sturges
  • Quentin Tarantino
  • Rainer Werner Fassbinder
  • Raoul Walsh
  • Religious
  • Remakes
  • Rene Clair
  • Richard Fleischer
  • Richard Lester
  • Richard Linklater
  • RIchard Roeper
  • Robert Aldrich
  • Robert Altman
  • Robert Bresson
  • Robert J. Flaherty
  • Robert Lyford
  • Robert Wise
  • Roberto Rossellini
  • Roger Ebert
  • Roman Polanski
  • Romance
  • Romanian Cinema
  • Romanian Filmmakers
  • Roy Andersson
  • Russ Meyer
  • Russian Cinema
  • Russian Filmmakers
  • Sam Peckinpah
  • Sam Raimi
  • Sam Taylor
  • Samuel Fuller
  • Samurai Films
  • Satoshi Kon
  • Satyajit Ray
  • Science Fiction
  • Scottish Cinema
  • Scottish Filmmakers
  • Senegalese Cinema
  • Senegalese Filmmakers
  • Sequels
  • Serbian Cinema
  • Serbian Filmmakers
  • Sergei Eisenstein
  • Sergio Corbucci
  • Sergio Leone
  • Sergio Sollima
  • Shohei Imamura
  • Short Cinema
  • Short Film
  • Short Films
  • Sidney Lumet
  • Silent Cinema
  • Slovak Cinema
  • South Korean Cinema
  • South Korean Filmmakers
  • Soviet Cinema
  • Soviet Filmmakers
  • Spanish Cinema
  • Spanish Filmmakers
  • Special Interest
  • Spectacle
  • Spike Jonze
  • Spike Lee
  • Sport
  • Sports
  • Sports Films
  • Stanley Donen
  • Stanley Kubrick
  • Status
  • Stephen Chow
  • Steve James
  • Steven Soderbergh
  • Steven Spielberg
  • Streaming
  • Stuart Gordon
  • Student Cinema
  • Surrealism
  • Swedish Cinema
  • Swedish Filmmakers
  • Swiss Cinema
  • Swiss Filmmakers
  • Taiwanese Cinema
  • Taiwanese Filmmakers
  • Takashi Miike
  • Ted Post
  • Television
  • Terence Davies
  • Terrence Malick
  • Terry Gilliam
  • Terry Jones
  • Terry Zwigoff
  • Thai Cinema
  • Thai Filmmakers
  • The Film Club
  • The Quay Brothers
  • Thriller
  • Thrillers
  • Tian Zhuangzhuang
  • Tobe Hooper
  • Todd Solondz
  • Tony Richardson
  • Top 10
  • Top 100
  • Top 101
  • Top 272
  • Top 304
  • Top 305
  • Top 306
  • Top 307
  • Top 308
  • Top 309
  • Top 310
  • Top 312
  • Top 313
  • Top 314
  • Top Directors
  • Tunisian Cinema
  • TV Films
  • Uncategorized
  • Victor Sjostrom
  • Vincente Minnelli
  • Vittorio de Sica
  • Walter Hill
  • War
  • War Films
  • Werner Herzog
  • Wes Anderson
  • West German Cinema
  • Western
  • Westerns
  • William Friedkin
  • Wim Wenders
  • Wong Kar-wai
  • Woody Allen
  • Yasujiro Ozu
  • Yasuzo Masumura
  • Yugoslavian Cinema
  • Zack Snyder

Meta

  • Register
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Blogroll

  • Antagony & Ecstasy
  • Brian Tallerico
  • Chicago Film Discussion Group
  • Collin Souter
  • Combustible Celluloid
  • Criterion Collection
  • Eric Melin
  • Erik Childress
  • Farran Nehme
  • Filmspotting
  • Ignatiy Vishnevetsky
  • Jonathan Rosenbaum
  • Josh Larsen
  • Laura Emerick
  • Mark Dujsik
  • Matt Pais
  • Michael Glover Smith
  • Michael Phillips
  • Michael Wilmington
  • Nick Digilio
  • Peter Sobcynski
  • Ray Pride
  • Richard Roeper
  • Roger Ebert
  • Susan Doll
  • The Criterion Collection
  • The Dissolve

Blog at WordPress.com.

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy