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k form playing with editing camera movements and framing is bold and ballsy not a perfect film but one that everyone should see bottle rocket wes anderson 1996 part of the enduring popularity of jean luc godard s band of outsiders playing thursday see above is owed to the tremendous influence the film had on the american independent filmmakers who emerged in the 1980s and 90s serving as a sort of how to template and reference point for jim jarmusch s stranger than paradise hal hartley s simple men the work of quentin tarantino whose production company is named after the film s french title and wes anderson s debut a comic fantasy about two friends luke and owen wilson in their screen debuts who aspire to become world class criminals expanded from a short film which unlike the feature but very like band of outsiders was shot in black and white and academy ratio bottle rocket weds anderson s storybook eccentricity to a more naturalistic style it s easily anderson s goofiest and most relaxed movie a likeably slack and damn funny comedy that also presents first drafts of the themes jealousy friendship and characters whose worldviews are out of proportion that have since dominated anderson s career the brasher doubloon john brahm 1947 in the space of less than six months from august 1946 to february 1947 american moviegoers were treated to three different versions of raymond chandler s popular philip marlowe character humphrey bogart in howard hawks the big sleep an off screen robert montgomery in the actor director s first person oddity lady in the lake and the charisma free george montgomery no relation in this b take on the high window already adapted a few years prior as time to kill a strapping former stuntman of questionable acting ability montgomery is a poor match for the baroque sensibilities of stubborn noir stylist cuculoris addict john brahm but the ever resourceful director manages to make up for montgomery s shortcomings cultivating an eccentric atmosphere through careful use of unusual lighting schemes creepy compositions and most notably a lot of well chosen bit players brahm had a rich eye for casting character actors he did after all put laird cregar in a lead role twice and the brasher doubloon features a rogue s gallery of memorable mugs including perennial old timer houseley stevenson grapefruit nosed toughie jack overman and the mephistophelean lazy eyed alfred linder uncredited as always breaking news johnnie to 2004 johnnie to s crackling action movie media satire filmmaking master class begins with a virtuoso seven minute long take and only gets better from there following a botched police bust a group of criminals holes up in an apartment building and takes a few hostages pretty soon their stand off with the cops devolves into posturing and one upmanship with each side doing their darnedest to manipulate the pesky tv news reporters gathered at the scene an unmatched craftsman of choreographed action and suspense to is at the top of his game here his use of cranes zooms dollies depth of field and shifting perspectives is nothing short of dazzling but what makes this movie such a goddamn masterpiece is the way it also functions as a grand statement of artistic principles a film about how images work what makes them exhilarating and how they can be manipulated bullet in the head john woo 1990 color movement physical dexterity symbolism choreography artificiality formal confluence romanticism reduce the stylized hong kong action movie to its most important parts and what you end up with is a pretty apt description of the mid 20th century movie musical just substitute gunfights for song and dance numbers nowhere is this relationship between the two genres more blatant than in john woo s minnelli influenced vietnam war epic an ambitious corrective to the deer hunter a movie that also wears its minnelli influence on its sleeve that flopped hard at the box office back in 1990 opening with an extended audio visual jam on the monkees i m a believer bullet in the head follows three hk street toughs jacky cheung waise lee and the shorter cooler of hong kong s two tony leungs who decide that they can make a quick buck in the totally not dangerous saigon war profiteering industry and get their lives ruined in the process while all of woo s hk action films are melodramatic have you seen the killer lately none of them foreground the melodrama the way bullet does the film s distinctive blend of soapy plotting choreographed violence and expressionist color verges on the hallucinatory carnage roman polanski 2011 an investment banker kate winslet and her blackberry addicted corporate lawyer husband christoph waltz are trapped by escalatingly absurd social circumstances in the brooklyn apartment of a housewares salesman john c reilly and a high minded writer jodie foster in roman polanski s brief comedy of bourgeois mores and misbehavior the film s confined setting the living room of the apartment with occasional detours to such geographically remote locations as the kitchen the bathroom and the hallway serves as a showcase for polanski s keen mise en scene and the meticulous production design of dean tavoularis the godfather apocalypse now they imbue the whole thing with a heightened sense of constructed reality one where every detail counts centennial summer otto preminger 1946 if otto preminger sounds like an odd choice of director for a golly gee americana musical it s because he was still that didn t stop 20th century fox from putting him at the helm of this jerome kern scored soufflé about two sisters jeanne crain and linda darnell who fall for a frenchman cornel wilde sounding vaguely quebecois during the lead up to philadelphia s 1876 centennial exposition bizarrely the whole thing works it s far and away the best of preminger s three forays into the genre achieving a sense of balance absent from the later carmen jones and porgy bess and the director s distinctive cool as a cucumber style results in some of the most elegantly understated musical numbers ever committed to three strip technicolor charulata satyajit ray 1964 though his name is familiar to american cinephiles and his debut feature pather panchali has been a staple of film school curricula for decades satyajit ray remains something of an unknown quantity in the united states a writer and filmmaker with a vast and diverse body of work who is known chiefly for a handful of early features if you only known ray for his apu trilogy or for his reputation as a dude who like made some important movies then this nuanced masterpiece about a lonely neglected upper class housewife in 19th century calcutta should be an eye opener the son and grandson of illustrators ray had a background in graphic design pather panchali was adapted from a novel for which ray has designed the cover and his masterful sense of visual composition comes to the forefront in charulata a film where the visible the framings the careful dolly movements even the wallpaper somehow communicates invisible undercurrents and subtexts the gorgeous score composed by ray himself is nothing to sneeze at either chronicle of a summer jean rouch edgar morin 1960 part ethnographic survey part theoretical discourse part filmmaking free for all this seminal gabfest takes a documentary gimmick set up a camera and a microphone on the street and then ask random passerby whether they re happy and breaks it apart the result is not only a revealing and important document of a time and a place but also a landmark examination of how people perceive themselves and of how cinema works describing the project as self reflexive would be an understatement co directors jean rouch and edgar morin employ a discursive structure that blends the increasingly candid and probing interviews with in depth discussions of the interviewees responses and comments on the film as a work in progress in effect expanding its scope from everyday french life circa 1960 to the broader question of whether cinema is even capable of tackling such a subject with its extensive use of handheld cameras and direct sound this film helped legitimize cinema verité as a genre though it doesn t completely adhere to that or any other documentary technique part of what makes this so enthralling as filmmaking is the way rouch and morin leap from approach to approach seemingly willing to try anything in order to answer the ambitious questions they pose for themselves the color wheel alex ross perry 2011 alex ross perry s shoestring budget tour de force is one of the best and boldest american independent films of the last decade a challenge to conventions of taste tone and what indie movies are supposed to look and move like that also manages to be both funny and genuinely tragic drawing equally from philip roth and late period jerry lewis the film follows a pair of loser siblings perry and co writer carlen altman who while away the hours verbally attacking each other that is when they re not busy being mocked by the dipshits assholes and outright dicks of the world they inhabit the humor ranges from slapstick to hateful and sean price william s black and white 16mm camerawork runs the gamut from shaky handheld to complex zoom and dolly shots but there s nothing slapdash about this all over the place movie its wild stylistic and tonal detours are all informed by a bleak but ultimately sympathetic view of human life and longing which comes to the fore in the film s gut wrenching single take climax this is american cinema at its purest and nastiest come back africa lionel rogosin 1960 a contemporary and kindred spirit to jean rouch and morris engel the early american independent lionel rogosin has become one of the decade s major cinephilic rediscoveries rogosin s skid row set boundary blurrer on the bowery was restored and screened to great acclaim last year on its heels comes the restoration of rogosin s even more ambitious second feature come back africa a new print of which will be one of the centerpieces of facets annual african diaspora festival shot on the sly in south africa using a cast of non professional actors the film is a candid and at times brutally honest look at life under apartheid rogosin s political anger is palpable but what comes through even more strongly is his unparalleled gift for portraiture as in on the bowery his way of photographing his subjects faces recalls rembrandt more than italian neo realism cosmopolis david cronenberg 2012 david cronenberg s don delillo adaptation is compacted and claustrophobic verbally structurally visually set over over the course of a single day the film follows manhattan billionaire eric packer gloomy pretty boy du jour robert pattinson as he talks with advisors gets a prostate exam fucks tries to buy the rothko chapel and watches his financial empire disappear all without having to leave the confines of his ultra luxe limo working with an intentionally artificial style cronenberg crafts packer s high tech stretch into a microcosm of the late capitalist world a moral vacuum where everything exists only in abstract terms the film s most unsettling implications however come from the scenes where packer ventures outside and into a world that s isn t all that different from the one he s carefully micromanaged for himself dark command raoul walsh 1940 while serious minded john ford and the western revisionists that followed his lead were keen to debunk american legends raoul walsh never let the truth get in the way of a good yarn walsh s fact based films are so loose that they could qualify as historical fan fiction which isn t to say there s anything remotely reverential about them this flavorful western recasts the civil war s notorious lawrence massacre as a love triangle walter pidgeon plays confederate guerilla william quantrill renamed cantrell here and walsh discovery john wayne is the raw potato chewin dentist s assistant turned marshall who vies with him for the affections of a good local girl claire trevor this may sound like fluff but walsh american cinema s patron saint of existential tension and pent up manic energy fills the movie up with enough low angle shots silhouettes shadows and moments of stark pitch blackness to qualify it as an early western noir flowing mikio naruse 1956 inspired like kenji mizoguchi s contemporaneous street of shame by the japanese government s decision to criminalize organized prostitution in 1956 this candid ensemble drama is set around a declining geisha house a cast of acting heavyweights including kinuyo tanaka isuzu yamada and haruko sugimura play the women whose livelihoods depend on this fading business which in turn depends on a fading way of life naruse s vision is anything but sentimental suggesting that the characters are as hopeless and worthless in the new progressive society as they were in the outmoded system of values it was created to replace though for the most part naruse sticks with perspective of a middle aged maid tanaka who takes a job at the geisha house it s the director s muse hideko takamine playing the part of the madam s modern daughter who truly represents the film s outlook a character with no place in the old world and no chance in the new one fulltime killer johnnie to wai ka fai 2001 more or less a live action cartoon this colorful kinetic action movie was directed in collaboration by johnnie to wai ka fai a seemingly unlikely pair whose longstanding creative partnership is arguably the single most fruitful collaboration in contemporary cinema wai has an outsize imagination and a predilection for oddball characters and twists while to is an old school craftsman with a gift for composing action and delineating group dynamics they jam like great musicians with to s intelligence and wit playing off of wai s quirky out there ideas the plot here has something to do with two hit men vying for the affection of a video store clerk but it serves mostly as an excuse for to wai to riff on their favorites movies and create some bravura action sequences it doesn t make a whole lot of sense but goddamn if it ain t fun hard boiled john woo 1992 somewhere between silly and sublime the pièce de résistance of john woo s hong kong career turns pulp cheese into pop ballet fluid extravagant and totally enamored with its own sense of cool chow yun fat stars as tequila a name that only john woo or a ten year old boy could love a clarinet playing cop who teams up with an undercover loner tony leung chiu wai to take down a triad boss anthony wong shoot a lot of people and rescue some adorable babies woo s worldview overwrought slightly homoerotic with some entry level metaphysics and psychology thrown in for good measure may be reductive but damn if it doesn t have a certain brutal grace to it the way he turns the characters into bodies in motion charging at one another leaping through space getting showered with shards of glass is engrossing and...