Reviews by Rath

Excellent portrait of human nature-label in the Bunuel cinematography, "The Young One" is also one of its least known film and even unfairly valued. When it would have been easy to opt for one of the strong and almost antagonistic personalities who star in the film, the spanish director tiptoes through its winding plot. Do not judge, do not fall into temptations easy Manichean moralizing scatters bulk or as favored the occasion. Again, there are no stories of good and bad. The human being, fortunately or unfortunately, is much more complex than that ...

Supported by good performances from unknown actors and even novice (Kay Meersman), the story is very fluid, seeping into the density of the passions buried within it.

Tragic amour fou story and sometimes almost delirious, "Seisaku's Wife" is a perfect example of the Japanese melodrama even in its excesses. Luckily, Masumura knows temper the dramatic tension, always preventing or tear melodramatic tone that lends the film since its inception. This, even in its resolution that prevented even mortal, it isn't less tragic.

If leftover or missing arguably not a plane, it can not be said of the soundtrack by Tadashi Yamauchi, Masumura occasional collaborator. His crushing melody-just be glimpsed melodramatic sequence hits insistence and, in my point of view, inappropriately.

In conclusion, "Seisaku no tsuma" is an excellent example and provides a brilliant exposition of how easy it is to feel the loneliness and contempt of others in human environments.

Typical USA television documentary, which well deserved the tribute. The best, the cuts include Lewis performances that are already part of the anthology film humor as well as some little-known personal anecdotes. And worse, the repetition (especially in the second half of the film) of occurrences of similar comedians and second row, glossing the excellence of the great comedian but without providing hardly any relevant detail. Curiously vitality that still shows as she continues acting in finery, the octogenarian comedian.
If only for return to see your great comedian in some of the film numbers that have given is justly famous and worthy of recommendation.

Production duo Oliver-Hardy in the twilight of her career together. Despite the proliferation of characters and situations makes the plot somewhat jumbled and storytelling suffers in bankruptcy screenplay, the film is entertaining enough to see with interest. To highlight the performance of the magician Dante as a perfect counterpoint to the pair of comedians, the work of the excellent supporting cast and some other memorable gag of Stan Laurel.

Curious medium-length documentary film that traces the path of Luis Bunuel in Mexico. Despite being a French-Mexican co-production, the female voiceover narration is in English and, except Buñuel cuts in the same language, the rest are in Spanish by colorful interviewed. A remarkable interventions Roberto Cobo mature on the same avenue he saw his career take off in the hands of the Aragonese filmmaker in "Los olvidados" and his friend and collaborator Luis Alcoriza.
Curiously, a couple of brief appearances Buñuel's widow -a very old Jeanne Rucar- but good-natured woman who was already for a few jokes.

In principle, I admit that I like the aesthetics of Maddin's cinema. Its close to the baroque imagery, full of dreams and often suggestions, "hooked" me.
It is also undeniable that the Canadian filmmaker is a big movie buff, which is in itself an added incentive for any lover of good cinema. Because this aspect results in a continuous translational cinéphiles references to the screen. "Archangel" is no exception to the above but one of the clearest examples we can see almost reproduced iconic images, "borrowed" from movies like "L'âge d'or" (Buñuel, 1930) or "La Petite Marchande d'Allumettes" (Jean Renoir, 1928) and not only in the continued presence of the snow, on the other side, consubstantial element to Maddin's dreamlike cinema.
Although this time the mechanism that leads to the fantastic, surreal worlds is not sufficiently greased and dreams train glides with the same resolution of previous proposals. The beginning is promising but the film suffers from what a mess and tries to show the ideal way to do it, falling into confusion mid your footage, because of a commitment that is not repetitive but the obsession of the protagonist, an officer pursued by the ghost of his recently deceased wife.

Interesting film shows Polish "thaw", which departs from the collective and socialist ideas of the time, to praise individuality through the figure of a retired railroad machinist. An old man who will go from villain to hero with the same cadence faint train glides along the rails. A near-perfect example of narrative.
The excellent and very credible interpretation Opalinski Kazimierz, the main protagonist of "na torze Czlowiek" gives great credibility to his character and forms the basis on which rests the whole structure of the film.
Not the best I signed its director, Andrzej Munk, but is a good example of the great narrative pulse of its cinematography.

Very interesting biopic of the director of "The Wild Bunch". The structure of the documentary is the usual in recent EEUU productions of last years: chronological narrative interspersed with archival footage of interviews with short cuts to people close to the filmmaker.

All I can throw in some appearance lack is precisely American director talking about his film and more a voice of it that is confusing and not very consistent with what the pictures show.

As the interest of this type of documentary is proportional to that might raise the biography, it goes without saying that in this case can not defraud anyone, given the unique and often brilliant Peckinpah's personality.

"The Patsy" is a typical sixties comedy directed by Jerry Lewis for his best personal brilliance. And the truth is that it does not disappoint because it is one of the best examples of his humor both gestural and narrative and it is clearly recognizable as your debt details with Stan Laurel (for example, unmistakable faces behind the scenes of the door leaf sliding) to the continuous display of complete sequences gags like to visit the music teacher or their creativity in developing skits.

Although, by impositions script, humorous almost disappears in the second half of the film in favor of the tax section always romantic, "The Patsy" is one of the works of Lewis that no longer be viewed.

The cloying "Dolannes melodie" -usual track in TV magic numbers- serves insufferable accompaniment to this film, presumably very free adaptation of Horace McCoy's thriller. At times, the dialogue move within an aesthetic of late replication French Nouvelle Vague and others fall into the most pitiable absurdity.

An apparent willingness in his speech and as extensive as excellent cast are not enough to save the general shipwreck project, since not even glimpsed even in that kind of water runs the film. Film undergone social criticism in a comic thriller with dramatic overtones, mechanical and staging theatrical and fatal outcome. That each viewer is left with the choice, seems to mean the filmmaker Mocky, here well ahead of the quality of his early works.