Here are our latest reviews of films on DVD from 2011 and earlier.
Alice Doesn’t Live Here Anymore
- Excerpt: …the inherent cheapness that’s indicative of anything with the Full Moon logo on it is just as obvious here (though this one doesn’t look as Europe-y as its brothers).
Forgotten Garbage: TerrorVision
Mike McGranaghan @ The Aisle Seat
John J. Puccio @ Movie Metropolis
- Excerpt: As helter-skelter as the setup might sound, as the narratives intertwine, one is never conscious of any episodic discontinuity but of a seamless, well-integrated flow of stories.
The Iron Horse
Andrew Wyatt @ Gateway Cinephiles
- Excerpt: In some respects, Ford’s film function as an American cousin to Battleship Potemkin: a work of Silent Era propaganda that trumpets its ideological message with unabashed enthusiasm, while also serving as an breathtaking showcase for contemporary filmmaking at its grandest.
- Excerpt: As portraits of disaffected youth go, Maurice Pialat’s L’Enfance Nue makes François Truffaut’s already restrained The 400 Blows look downright sentimental and sensationalistic.
Les Misérables (1935)
- Excerpt: While there’s no such thing as a timeless ’30s Oscarbait literary adaptation, this comes pleasantly within spitting distance of that mark.
The Life of David Gales
A Man Vanishes
The Man Who Knew Too Much
- Excerpt: I won’t go so far as to say that the original The Man Who Knew Too Much is a bad movie, but it is certainly a disappointing one, made by someone who had not yet mastered the suspense thriller.
The Man Who Knew Too Much (1934)
- Excerpt: In the first few minutes of MASH, director Robert Altman leads his audience through rapid and disorienting alternations of tone and artistic intent, provoking his audience to wonder, what the hell kind of movie is this?
The Phantom of Crestwood
- Excerpt: …the mansion is the real star, what with its secret passageways, crumbling cliffs, and an eerie, glowing death mask that’s ripe for the creeping.
The Qatsi Trilogy
Twins of Evil
- Excerpt: Though light on plot and dialogue, the film is dense with the air of being lost and at home all at once. It’s a portrait of people removed from society, with all the romanticism and the hollowness that comes with it.