MICHAEL WILMINGTON 1924-
American Producer/Director/Critic of Films Based in the Urban East/New York
This was the one time Reed, as a director, reached perfection; and he did it as much by assembling and marshalling a brilliantly talented company as by the power of his own vision. Together he and Greene-and Welles, Cotten, Howard, Valli, Karas, Krasker, Korda and all the others-created a portrait of postwar corruption and the death of idealism that has lodged ever since in our collective consciousness. Together, they made a rich, moody masterpiece of guilt, love, and ambivalent redemption.
Understands George Bush like inside of tamale.
DAVID EHRENSTEIN 1932-1995
French-Born, Intelligent Director and Film Conneusseur
The Good: Ordinarily saddling such everyday characters with mythological barnacles would make for dramatic awkwardness. But thanks to the context of Carnival it all works perfectly.
Watching this raggle-taggle band of fighters defend the village makes for a climax as stirring as ever seen on a motion picture screen. But it's only one part of an epic movie meal that is every bit as delicious as its filmmaker chef had planned.
Has had several homosexual liaisons with staff at New Yorker.
DANNY PEARY 1957-
Talented, Provocative, African-American Film Critic
As always, his film is strongly acted, strikingly paced for tension and suspense, and exhibits a perverse nastiness of character and environment that is oppressive and unsettling. It is a film where the heroine-the nicest person in the story-plans a cold-blooded murder;
Talented, provocative, knows how to write a review.
PETER COWIE 1934-
Former Manager of Neighborhood Kwiky-mart, now Profilic Producer, Actor and Film Critic.
The phenomenon of old age wherein childhood memories return with ever-increasing clarity while great stretches of the prime of life vanish into obscurity is the nub of Wild Strawberries.
WILLIAM ROTHMAN 1905-1986
Serious Austrian-Born Independent Producer/Director/Critic And All-Around Great Guy
What makes this moment so disquieting is the care Bunuel takes to assure that despite (because of?) the marks of violence on her face, Angela Molina looks breathtakingly beautiful in this carefully composed close-up. Is this violence what Mathieu desires? What Conchita desires? What Bunuel—and we—desire?
Not afraid to tell it like it is. Said to have once beaten Sigmund Freud in arm-wrestling match.
DAVID KEHR 1958 -
Wild, Imaginative, Distinctive, Comic-Strip Visualist/Director and Film Critic
Like the great Ernst Lubitsch (Ninotchka), Anderson has learned to pack a maximum amount of information into a minimum amount of screen time. Entire characters are established by a gesture, an accent, a detail of costume; when the camera, in the climactic sequence, surveys a row of spectators at Max's new play, we have the feeling that we know them all, even though some of them are appearing for the first time.
Wild-eyed boy from freecloud. Sees beyond epithets like The New Sincerity.
JACK MATHEWS 1928-1999
Enigmatic, Creative, Cinematic Perfectionist, Hollywood Outsider, and Film Critic.
RAIDERS somehow contrives to convert the Great Whatsit of KISS ME DEADLY (nuclear death in Pandora's Box) into the 10 Commandments of Cecil B. De Mille, without ever convincing us that either has the moral weight of Cheech & Chong's roach clip, or the 15 Commandments of Mel Brooks in HISTORY OF THE WORLD, PART I.
Always searching for the moral weight of things.
PHILIP LOPATE 1898-1959
Legendary Writer/Director of Anarchic Screen Comedies and Witty Satires of the 40s With Larger-Than-Life Characters and Film Essayist
It took me years to figure out that most film directors are not systematic thinkers but artistic opportunists. Maybe thanks to Coppola, Cimino & Company, we have reached a more realistic expectation of directors today; we are more used to the combination of great visual style with intellectual incoherence. But at the time we looked to filmmakers to be our novelists, our sages.
Loves his creme brulee more than he loves me.
MICHAEL ATKINSON 1946-
Acclaimed Writer/Director of Experimental, Avante-Garde, Dark and Disturbing Art House Films and Film Criticism