CULTURE
About a week ago, Daniel propositioned Film Review Fridays with its most ambitious publication yet: a final 9 mini-reviews to cap off the year. 3 reviews from each of the 3 film reviewers on movies that have meant so much to them this year, a way to end with a
CULTURE
Das Boot (1981) dir. Wolfgang Petersen “They made us all train for this day. ‘To be fearless and proud and alone. To need no one, just sacrifice. All for the Fatherland.’ Oh God, all just empty words. It’s not the way they said it was, is it? I just
CULTURE
The Night of the Hunter (1955) dir. Charles Laughton “Ah, little lad, you're staring at my fingers. Would you like me to tell you the little story of right-hand/left-hand? The story of good and evil?” Charles Laughton’s 1955 expressionistic masterpiece has, since its initial release, defied
CULTURE
The Killing (1956) dir. Stanley Kubrick “You know, I've often thought that the gangster and the artist are the same in the eyes of the masses. They are admired and hero-worshipped, but there is always present underlying wish to see them destroyed at the peak of their glory.
The Apartment (1960) dir. Billy Wilder “Ya know, I used to live like Robinson Crusoe; I mean, shipwrecked among 8 million people. And then one day I saw a footprint in the sand, and there you were.” You will never have an experience like watching Billy Wilder’s 1960 masterpiece
CULTURE
The Darjeeling Limited (2007) dir. Wes Anderson “I wonder if the three of us would’ve been friends in real life. Not as brothers, but as people.” If I had to choose a film from Wes Anderson’s rapidly growing filmography that has aged the finest, it would have to
CULTURE
The Firm (1993) dir. Sydney Pollack “It's not sexy, but it's got teeth!” While the 21st century has seen its share of legal thrillers with 2023’s Academy Award winning Anatomy of a Fall, 2007’s Michael Clayton, and 2019’s criminally underseen Dark Waters it
CULTURE
“If the ‘self’ is a construct, and it’s all just role play, do you think people can change?” Richard Linklater’s latest foray leads audiences to a road less travelled in the mainstream cinema of today. A road full of rough edges, diminished morality and a leading man who,