Ed Gonzalez

Structurally and thematically, Dario Argento’s The Cat O’ Nine Tails is an improvement over The Bird With the Crystal Plumage, even if the film’s non-linear convolutions of plot may purposefully distract. Set against a backdrop of genetic research and espionage, Argento’s formal obsession with allusions to seeing and sightlessness is on fierce display.

Many of the film’s pleasures, then, derive from watching these characters successfully use the tools of the stage (improvisation, sense memory, prosthetics) to successfully subvert the Nazis.

Dario Argento undervalues his material, but his set pieces are glorious enough that the film’s plot contrivances can be forgiven.

It figures that the sex scene from Nicolas Roeg’s Don’t Look Now has become more legendary than the film itself. Forget that Julie Christie and Donald Sutherland were off-screen lovers at the time, the film’s infamous bedroom romp is every bit as devastating and organic as anything else in the film.

Call it what you will (documentary, mockumentary, self-fulfilling prophecy), Close-Up is still the definitive film-on-film commentary.

Tenebre is a riveting defense of auteur theory, ripe with self-reflexive discourse and various moral conflicts. It’s both a riveting horror film and an architect’s worst nightmare.

Remarkably dull Hud more or less plays out as a home-on-the-range knock-off of Nicholas Ray’s brilliant Rebel Without a Cause.

Ali‘s narrative laxness comes at the fault of boxing time (a good one-third of the film’s three-hour time span is spent inside the ring). You say: But Mann knows how to direct a fight. But I say: So what?

This sexy, often funny comedy about AIDS is missing one important thing: a crucial sense of danger.