Author: Doug Cummings

After a couple of years of rumors and delays, New Yorker Video is finally scheduled to release one of my all-time favorite movies, Robert Bresson’s A Man Escaped (1956), as well as Bresson’s Lancelot du lac (Lancelot of the Lake) (1974) and potentially L’Argent (Money) (1983) on DVD on May 25th. Amazon.com is already pre-ordering the first two.

I’ll hold off extended commentary on these magnificent films until they’re released, but all I can say is that it’s about time someone finally started releasing Bresson on DVD in North America–the technology is only seven years old.…

The new 12th edition of the Time Out Film Guide has recently been published, and for my money it’s by far the best collection of capsule reviews in book form that’s widely available. Utilizing an extensive group of UK writers and covering a spectrum of films that far surpasses the Leonard Maltin or Martin/Porter guides–with more provocative writing–it’s a wonderful quick reference when browsing your cable schedule or local video store.

The latest edition has been especially spiffed up, with color page inserts and alphabetical markers. It also has an admirable DVD buyer’s guide organized by country, which suggests …

It’s not often that I find myself wholly embracing contemporary thrillers–I’ve seen enough of them to recognize formulas in the trailers alone; their emphasis on gruesome aesthetics and heavy-handed shock tactics, sexy serial killers, or cops who decide that this time, it’s personal.

Happily, I can fully recommend two exemplary thrillers currently getting some play: Stephen Frears’ Dirty Pretty Things (2002), just released on DVD, and the first installment of Lucas Belvaux’s Trilogy (2002) series, On the Run (Cavale), which I just saw last night. Both films benefit from an almost old-fashioned love of character and formal …

While breezing through Roger Ebert’s site this morning, I was surprised to see his three-star (good) rating of Nuri Bilge Ceylan’s mesmerizing Distant (2003), a film he indirectly panned ¹ last year in his disparaging remarks toward the Cannes Film Festival.

Occasionally at Filmjourney, I’ve critiqued Ebert’s populist dismissals of highly regarded art cinema in light of the fact that he continues to be one of the few mainstream critics who actually attends film festivals and writes about them and offers at least a modicum of sensitivity toward film history and analysis with his Great Films essays or Overlooked …

A few blogs back, I noted the latest issue of Cineaste includes the editors’ Ten Favorite Historical Films and sneaking in at tenth place is Francesco Rosi’s Salvatore Giuliano (1961), a film which has recently been released as a 2-disc DVD from the Criterion Collection.

Its subject is a notorious mountain bandit who was recruited to lead the fight for Sicilian independence immediately following World War II. After the island was declared an autonomous region of Italy in 1946, Giuliano waged terrorist acts against communists until 1948 when conservatives took office, after which he engaged in various criminal activities until …

Kino International has released a 50th anniversary print of Federico Fellini’s I Vitelloni (1953), which I had the pleasure of watching this week.

If I had to choose one aesthetic movement in film that I find the most personally invigorating, it would likely be neorealism. A short-lived but potent eruption in postwar Italian literature and filmmaking (roughly ’45-’53), it is commonly identified with the aesthetics and particularities of its first critical and popular success, Roberto Rossellini’s Open City (1945): simple plots and location shooting, nonprofessional actors playing working class people whose lives are complicated by social turmoil. While these elements …