Searchers, The

Here I make my declaration of faith: the single most important element in film is plot. This is because film is an inescapably realistic medium. You can’t make it look not like life, though, God knows, an awful lot of people have tried. But it is life in motion, which means that it cries out…

A couple of months ago I picked Stigmata the front-runner in the Worst-Movie-of-the Year Stakes, but Kevin Smith’s disastrously awful Dogma has now blown by it in the stretch and is cantering towards the finish several lengths ahead of the field. Since his promising debut with Clerks (1994), Smith has been going steadily downhill in…

Please note that the star in this case has a very special meaning. This is that if you have strong nerves and are not subject to nightmares—and you live in one of the few places where Funny Games by the Austrian director Michael Haneke can be seen—by all means go to see it. But don’t…

This month should be called easy morality month. No sooner do we get finished watching as Steven Spielberg proves to us with incredible but not untypical supererogation and at nearly two and a half hours length that slavery is iniquitous than we step into James Cameron’s Titanic and find that it takes nearly three and…

First westerns, then horror films, now gangster flicks: all the great Hollywood genres have been appropriated by the spoofters and turned from serious melodrama— in living memory, the movies have become the one place in the aesthetic world where the expression is not an oxymoron— into comedy and parody. Hard on the heels of this…

Near the end of Black Orpheus (Orfeu Negro), Marcel Camus’s masterpiece of 1959, there comes what can only be described as an authorial disclaimer that strikes the film’s one seriously false note. “The happiness of the poor is the great illusion of Carnival,” we are told, more or less out of the blue. Up until…