Edited and Updated 2016
Released only one year after Robert Altman’s first masterpiece, MASH, this sly, revisionist Western is the rare film whose intentions and affect are captured fully in its opening credits. Fore-grounded, we have an image of a decrepit, hunched over, and phony looking enigma of a man riding slowly into an equally decrepit and hunched-over town. It is nothing short of a stunningly snarky and caustic wry mockery of the Western archetype hero riding into town to save the day. Only he isn’t there to “save the day” here. He, McCabe (Warren Beatty), simply wants to make a name for himself, and he does so by running a brothel, but only once he’s saved by a woman who initially couldn’t care less about him, the down-to-earth Mrs. Miller (Julie Christie) who somehow manages to maintain an unreachable magisterial mystery about her. And that’s the film in a nutshell: decrepit, deadened, and down-trodden yet still somehow attaining a sort of energetic sense of positively alert human feeling. In this sense, it is the quintessential New Wave film. Continue reading
This being the first review for the month of September during the “National Cinemas” project, and thus the first review in a month-long exploration of German cinema. It seemed only appropriate to go with the best film by Germany’s greatest living filmmaker. 
Edited
Unforgiven is about as gutsy and ravaged a film as you’ll find from a mainstream American director, a work which not only deconstructs a genre of film but the filmmaker’s entire career. It’s seeped in merciless violence, but as much a violence which occurred decades before the film begins as any violence which occurs from first reel to denouement. It rolls over the arid hills of the American West, bathed in a dark, ominous red of the blood done in the past but which refuses to be forgotten. With Unforgiven, Eastwood not only tears down the violent core of America’s past, but he has a few choice words for the gaze we place upon violence in modern society. We’re fascinated with it. And Eastwood, a man whose career was built on celluloid violence, knows this well. He runs us through the wringer with quiet, elegiac visual poetry which provides us with a dreamy, mythic Western landscape and that turns out to be a nightmare clinging us to our past. This is cinema of implication, with Eastwood questioning whether we can ever break from the horror-show of the Western genre and underlining his question in blood-red strokes. 
Update mid-2018: This remains one of those very early college-era reviews I’m not especially content with. In an ideal world, I would write up a new piece, but having recently rewatched the film, I’ll simply note how much I still admire its bracingly self-effacing tone, its stylistic shagginess, and its will to break any illusion of a dramatic arc. Before, of course, Altman finally side-winds us with a self-critically arbitrary conclusion: a parodic football game that sketches the link between competitive sport and war-mongering, doubles as a satire of dramatic pay-off, and triples as a mockery of masculinity – that ego-stroking liminal realm where the interstices of anarchy and authoritarianism, id and dogma, collapse into one another – played in Altman’s quintessentially sardonic key.
In my month-long look at British cinema, the one figure I could not even dream of avoiding wasn’t David Lean or Michael Powell (the nation’s two greatest filmmakers), but a big man known around the world in the smug, terse way he cannot help but introduce himself to everyone he meets: Bond, James Bond. In many ways, he is the modern pop-culture symbol of Britain, and he’s far more popular today, 52 years after his first cinematic outing, than his humble beginnings in 1962’s Dr. No would suggest. He, in a sense, personifies many things commonly associated with Britain, both the good (intellect, wit, sure-faced chill, dogged tenacity), the bad (misogyny, macho-post-colonialism, distant militaristic sense of a dehumanized and mechanized order hidden under aristocratic airs, dogged tenacity) and the both (smarminess, standoffish cool, dogged tenacity). Above all, he captures that sense of unending existence, that notion of always being there and recovering from whatever ails him, which Britain loves to see in itself. And plenty has gone wrong with the Bond series over the years, but as his films are wont to declare, Bond will always return. You just can’t keep a (maybe not so) good man down.
Update mid-2018: A delirious and truly tragic portrait of egomaniacal scientific rationalism, David Cronenberg’s The Fly still earns any and all comparisons to Shelley and all others who have traced the contours of modernity in the Dark Romantic tradition, from the summit of intoxication all the way to the pit of self-inflicted abjection.
The central reality of The Muppets, the thing which many are afraid to speak but which virtually any opinion of the film fundamentally rests on, is nostalgia. One might expect, considering that the film’s director James Bobin is most known for co-creating the archly-dry Flight of the Concords, that this film would follow suit and place the emphasis squarely on the reality that everything which made the Muppets so lovable was also extremely lame (and I mean this in the best way possible, since the Muppets were always proud of their lameness and held it in high regard).This is not so, for Bobin and co-writers Jason Segel and Nick Stoller in fact adopt not arch-irony but arch-genuineness in the film. The humor, while occasionally pointed, is mostly of the gentle and sweetly grinning variety, clearly in an attempt to mimic the original show. In today’s hyper-cynical world, this is quite a wonderful thing, and it makes the film curiously out-of-touch (in a good way) with a modern society that can’t seem to enjoy anything without its daily dose of irony on the side. 
Edited
The Long Take 