Raw (Julia Ducournau, 2016). A French coming-of-age horror picture, very self-conscious about what it’s up to but none the less effective. Who knew veterinary school could be so intense? (full review 3/31)
The Train (John Frankenheimer, 1964). Taut suspense movie about Resistance fighters trying to keep France’s great paintings from being stolen by Nazis in the last days of the occupation. Frankenheimer really knows how to direct machinery, and that’s not a knock (related theory: Did Mike Nichols study this movie before mounting Catch-22?). Possibly a little confused about where its sympathies are on the importance of art vs. life, but exciting to look at. Some of Burt Lancaster’s stunt work is astounding.
Saturday Night and Sunday Morning (Karel Reisz, 1960). Kitchen-sink drama, with a commanding performance by Albert Finney. As gritty as the movie is, the basic thing of it is sentimental. I hadn’t seen this in many years and remembered little about it, except a sense of morning-after bleariness (maybe because of the great title?), but there’s actually a lot of vitality on display.
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