A Page of Madness (Kinugasa, 1926)|||||6
I Was Born, But... (Ozu, 1932)|||||7.5
* Paris, Texas (Wenders, 1984)|||||6.5
* Sherlock, Jr. (Keaton, 1924)|||||7
One Week (Cline, Keaton, 1920)|||||++
Helen (Nettelbeck, 2009)|||||3.5
Satantango (Tarr, 1994)|||||7.5
The Rocky Horror Picture Show (Sharman, 1975)|||||5
Paranormal Activity 3 (Joost & Schulman, 2011)|||||4
The slickest, sliest of the bunch, surely. But probably still not better than the first.
Early Summer (Ozu, 1951)|||||7.5
Blues for Willadean (Shores, 2012)|||||5
Brief Encounter (Lean, 1945)|||||7.5
Sinister (Derrickson, 2012)|||||4
A morbid, but pretty useless and moribund piece
of weird tale capitalizing: useless in its thematic cocktailing (Fame! Marriage!
Something nothing to do with anything!), moribund in its groundless
plotting and its valiant effort to adapt the narrative novelty of creepy
internet tales and other short-form occult material (instead of Hollywood beginning-middle-endings) but
completely failing to be either consistently creepy or much better than that formulaic studio crap. It's a little better, but the trailer was simply 10x scarier. Derrickson handles a mid-film marriage
squabble quite well, though, as well as a general fabric of real drama, which is just kind of really refreshing in today's
drama-inept horror output.
* The Man With the Movie Camera (Vertov, 1929) (live accompaniment)|||||??The live accompaniment was, let's just say, a detriment.
Lawrence of Arabia (Lean, 1962)|||||8.5
"And David Lean. Like Dr. Zhivago and of course Lawrence of Arabia. All of David Lean’s movies blew my mind." - Tobe Hooper
Jules and Jim (Truffaut, 1962)|||||8.5
The Invisible War (Dick, 2012)|||||5.5
F for Fake (Welles, 1973)|||||8
* Brigadoon (Minnelli, 1954)|||||7
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