But Leone's mixture of seemingly incompatible elements is what makes The Good, the Bad, and the Ugly so great. Not only does he combine a Cinemascope-era outlook with an eye for grittiness, but he mingles tasteful realism with a flamboyant, self-conscious style. Freeze frames, intertitles, and point-of-view shots brilliantly co-exist with the meticulously appointed period sets and sweeping frontier vistas. This fusion, in addition to a surplus of creativity and lack of restraint, makes the third in the so-called "man with no name" series the crowning glory of his career.
Continue reading: The Good, The Bad, And The Ugly Review
Whether you agree or not, you'll have a very tough time stomaching this movie (if you can find it at all). Pasolini's message isn't just distasteful, it isn't delivered very well either: The film is rough, the sound is erratic, the pace is jerky. In all honesty it's a terrible, terrible experience -- but give the guy credit: It's certainly unique.
Continue reading: Salo, Or The 120 Days Of Sodom Review
Unfortunately, this "torrid love affair" between a grieving American (Brando) and a pouty Parisian (Maria Schneider) -- they don't even tell one another their names -- is overlong and overblown. It's Bertolucci, after all, making a film inspired by his creepy desire to bone an anonymous woman he once saw. The story is one of dysfunction and thinly veiled misanthropy; love is left as an afterthought.
Continue reading: Last Tango In Paris Review
Over the course of his career, Scorsese has proven he fully understands the tension that once fuelled - and continues to fuel - this powder keg of a city. With Gangs, he rewinds the clocks to present a vicious social and political history lesson that retraces New York's early steps in an effort to better understand the many ingredients of the current Melting Pot.
Continue reading: Gangs Of New York Review
The actor says he isn't "holding out for more money or doing anything like that".
The drama will be making its return to the streaming service in the near future.
Charlie Cox explains why his character Daredevil 'doesn't have time' for Jessica Jones.