"A sinister cabal of superior writers."
John Lars Ericson - Page 2
Articles: 23
Articles: 23
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The Dardenne brother's 1999 masterpiece is so profound in its display of the complexity of humanity and morality, I cannot help but name if one of the very best films I have ever seen.
A belated attempt at honoring the best that 2003 had to offer for cinema.
Jean Renoir's masterpiece remains one of the most profound on desire, class and the sheer beauty and tragedy of film and the human experience.
Gus Vant Sant's controversial look at school violence deservingly captured the Palme d'Or and Best Director prizes at the Cannes Film Festival, no doubt because of the maturity in ignoring the politics behind violence in favor of portraying it for what it truly is: sorrowful, and senseless.
Baz Luhrmann's love/hate 2001 feature marks itself as an aesthetic marvel that remains just as exciting with multiple viewings as the very first time it was absorbed.
Andrei Tarkovsky's mirror of past memory and stylism serves as one of the most beautiful examples of his art - and one of his most difficult.
Alexander Sokurov's 1997 experiment (of sorts) with visuals, length and tone reveals itself to also be a beautiful, ambigious, poetic and moving film on death, love and longing.
The Coen brothers' cult hit, released after the sweep of their critical success, Fargo serves as a more interesting look at a continuing dialogue between American men in the majority - then as a piece of drug-induced noir.
Gus Van Sant's controversial return to non-traditional narrative supplies a lot of ambiguity and insight into attitudes on American cinema.
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