In 1944, a German colonel loads a train with French art treasures to send to Germany. The Resistance must stop it without damaging the cargo. Read More »
You’d have to be a hard-assed bastard indeed not to be touched in some way by The Miracle Worker, the film version of Helen Keller’s story — the blind, deaf, and mute girl we all tragically made jokes about when we were kids. Anne Bancroft plays Helen’s patient teacher Annie, who uses the virtues of tough love to teach the stubborn and spoiled Helen (Patty Duke) to understand sign language. Notable not just for its earnestness and two outstanding performances (both won Oscars) — it’s also got one of the longest catfights in cinema history. Read More »
Synopsis from Timeout.com:
A wonderfully quirky Western, brilliantly scripted by Thomas McGuane, which strips all the cute whimsy away from the Butch Cassidy theme (outlaws on the run from a relentless lawman), replacing it with a kind of pixillated terror. Playing the ‘regulator’ as a camp Buffalo Bill with an Irish accent, Brando makes his entrance playing peekaboo from behind his horse, and at one point even stalks his prey in a dress and poke bonnet. But he is also a legalised killer, expert with a rifle but preferring (as the flail of God) to use a harpoon shaped like a crucifix. And as his gloating sadism shades into hints of bizarre perversion when he dedicates a love song and a kiss to his horse, the tone gradually darkens to a kind of horror. It’s one of the few truly major Westerns of the ’70s, with a very clear vision of the historical role played by fear and violence in the taming of the wilderness. Read More »
When Los Angeles private detective, Harry Moseby is hired by a client to find her runaway teenage daughter, he stumbles upon a case of murder and artifact smuggling.
Vincent Canby wrote:
Arthur Penn’s Night Moves, the director’s first film since the epic Little Big Man five years ago, is an elegant conundrum, a private-eye film that has its full share of duplicity, violence, and bizarre revelation, but whose mind keeps straying from questions of pure narrative to those of the hero’s psyche. Read More »
A bored small-town girl and a small-time bank robber leave in their wake a string of violent robberies and newspaper headlines that catch the imagination of the Depression-struck Mid-West in this take on the legendary crime spree of these archetypal lovers on the run. Read More »
Arlo Guthrie’s song is converted into a motion picture.
Arlo goes to see Alice for Thanksgivng and as a favor takes her trash to the dump. When the dump is closed, he drops it on top of another pile of garbage at the bottom of a ravine. When the local sheriff finds out a major manhunt begins. Arlo manages to survive the courtroom experience but it haunts him when he is to be inducted into the army via the draft. The movie follows the song with Arlo’s voice over as both music and narration.
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A cluttered, erratic, uncertain movie (1966)–and, if you can see past the blowsy trappings of southern gothic, a good one. Robert Redford is the Christ-like convict who escapes from prison and heads toward his small-town home; his expected arrival (get it?) stirs a flurry of moral and social upheaval. Marlon Brando, as the sheriff, provides a gradually crumbling center of strength and certainty; the balance of the extraordinary cast includes Jane Fonda, Angie Dickinson, Janice Rule, James Fox, Robert Duvall, E.G. Marshall, and Miriam Hopkins. The screenplay is by Lillian Hellman; the direction, nervous and attentive, is Arthur Penn’s. Read More »