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Movies We Like - Genre -

Thunderbolt and Lightfoot

Dir: Michael Cimino. Starring: Clint Eastwood, Jeff Bridges, George Kennedy, Geoffrey Lewis. Action/Adventure.

Thunderbolt and LightfootClint Eastwood hit the big time with his trio of Sergio Leone-directed genre-bending spaghetti westerns and then propelled to superstardom with the vigilante-cop Dirty Harry flicks. But even while playing the mega-star in commercial fare he still managed to make a number of unusual flicks you wouldn’t expect from an actor riding such a glorious wave. Films like the gothic, civil war, teen lust thriller The Beguiled or playing a sociopathic rapist gunmen in the western High Plains Drifter (both great flicks) matched by what could only be called a homoerotic, action, road, buddy-dramady called Thunderbolt and Lightfoot, it’s like Midnight Cowboy but with fast cars and guns. The other thing that makes the movie so unique in Eastwood’s filmography; it was the only time in the era that he was paired with a co-star with so much measurable talent. In his best performance after his debate in The Last Picture Show, Jeff Bridges gives a fascinating performance and shows why he would also eventually reach iconic status (he also got well-deserved Oscar nominations for both films). Thunderbolt and Lightfoot provides Eastwood fans with the expected muscle, but also an odd dose of heart.


After the syrupy theme song by Paul Williams called “Where Do I Go From Here?” Eastwood first appears on screen as a minister giving a sermon in a church. When an assassin tries to shoot him, clearing the church, he takes off on foot and is saved when an ecc...

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Posted by:
Sean Sweeney
Jan 31, 2013 3:41pm

Extreme Prejudice

Dir: Walter Hill, 1987. Starring: Nick Nolte, Powers Boothe, Michael Ironside, Maria Conchita Alonso, William Forsythe. Action.

Extreme Prejudice posterAfter his great little run of action films from 1975 - 1982 that included The Driver, The Warriors, Southern Comfort and 48 Hrs, gritty director Walter Hill wandered in the wrong direction with the action musical Streets of Fire and the unfunny Richard Pryor comedy Brewster’s Millions. Even though he would go on to have a big hit with the Schwarzenegger muscle bore Red Heat, most of his flicks had potential but oddly fell short (Johnny Handsome, Wild Bill). He did do an underrated urban thriller, Trespass, but otherwise nothing reached that earlier high.

Hill started out as a writer and one of his first credited screenplays was for Sam Peckinpah’s mean spirited thriller, The Getaway. So Hill’s 1987 Tex-Mex action flick Extreme Prejudice, though completely ignored by audiences in its day, now plays as a perfect homage to his one-time boss, Peckinpah (The Wild BunchStraw Dogs), the master of masculine violence who had burned out and died a few years earlier. With about as good a cast of tough guy character actors you could find in 1987 (including Nick Nolte, Powers Boothe, Michael Ironside, Rip Torn, Clancy Brown and William Forsythe), time has been kind to Extreme Prejudice. Though it’s set in modern day, it’s now starting to look like one of the better “Westerns” made in 1980s.

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Posted by:
Sean Sweeney
Sep 26, 2013 5:36pm

Daisies (Sedmikrásky)

Dir: Vera Chytilová, 1966. Starring: Jitka Cerhová, Ivana Karbanová. Czech. Foreign.

Daisies begins and ends with stock footage of war and industry. Between these two bookends two charmingly bratty young women (both named Marie) decide that because the world is bad that they will be too. They spend a lot of their time engaged in elaborate pranks often involving getting free meals from old men and creative slapstick destruction involving fire, scissors and lots of food.

The cinematography of Jaroslav Kucera is amazingly beautiful and innovative. His jarring use of colors, beautiful compositions and dreamy visual effects contribute to a carnivalesque mood that is both heavily psychedelic very New Wave. The distorted, strange sounds, the amazing sets and the wonderful costumes all reinforce Chytilová's wonderful vision.

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Posted by:
Eric Brightwell
Dec 5, 2007 3:38pm

The Films of Michael Haneke (Boxset)

7 Essential Works By the Master of Discomfort

Michael Haneke is one of the most innovative and exciting filmmakers currently working. His films can be extremely shocking and, at times, graphically violent. But unlike most thriller directors, Haneke chooses to downplay his violence. Haneke prefers a cold austerity to the melodramatic hysterics that characterize modern thrillers. His characters are cold and unfeeling, resulting in an atmosphere of psychological turmoil, emotional paralysis, and impending doom. His paradoxical approach to violence instills an unnerving tension within any well-balanced viewer, and this tension quickly turns into utter terror. Haneke thwarts his viewers of their moment of cathartic release:  that tantalizing moment in which viewer and filmmaker can share a moralizing sigh of relief and say, “Ah, wasn’t that horrible?” No one is bailed out of a Haneke film; instead, the viewer must deal with and eventually accept the bleak situation that confronts him.

Haneke’s unapologetic approach to cinema expects more from its audience than your normal pure entertainment thriller or horror film. When watching Haneke’s films, despite the discomfort we feel, we must never alienate ourselves from the violent acts depicted on screen (and in the specific case of Funny Games, we are even encouraged to play along). His films always provoke social thought and personal introspection. Ultimately, Haneke wants his viewers to ask more questions, and to view this tiny world and all its complexities with a more critical eye. Oh, and yes, they are quite riveting to watch as well…

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Posted by:
Joey Izzo
Dec 19, 2007 4:27pm

The Conformist (Il Conformista)

Dir: Bernardo Bertolucci. 2006. Starring: Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Enzo Tarascio. Italian. Foreign.

I've never read the novel "The Conformist" by Alberto Moravia, but I can bet that Bernardo Bertolucci's film Il Conformista is a faithful adaptation of the story. The film explores a truly profound relationship between the individual and societal ideals, dealing with Fascist Italy in both an intellectual and artistic sense.

I'd have to say, the best way to watch this film is with your own company or maybe another if you are ready to embark on a heavy, heavy journey. The film is a mind trip - allowing the viewer to question the individual's values, society, civil responsibility, and dependence.Yet it doesn't stop itself there - the photography by Vittorio Storaro is breathtaking and true to its story. The style is so noteworthy that the film is praised in Visions of Light, a documentary honoring cinematographers as artists, and for good reason. Each moment is dedicated to the sorrow of an Italian under governmental pressures.The rich colors, camera angles, and camera movement accentuate Italian expressionism in every sense.

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Posted by:
Tiffany Huang
Dec 31, 2007 3:45pm

Tout Va Bien

Dir: Jean-Luc Godard, Jean-Pierre Gorin. 1972. Starring: Y. Montand, J. Fonda, V. Caprioli, E. Chauvin. French / English. Foreign.

French founders of the politically active filmmaking Dziga Vertov Group, Jean-Luc Godard and Jean Pierre Gorin, made Tout Va Bien in1972, their 2nd to last collaboration together.

This film certainly falls far from the category of escapism. You, the viewer, are going to have to examine not only the constructs of filmmaking itself, but also the economy of contemporary society and the political ideologies behind it. Sound like a handful? You can be assured that every movement within the frame, every insert, every cut, is deliberate and Brechtian in every formal quality. The staging shows people moving from one room to another through a cross-section of the building, emphasizing the strike at a sausage factory that is observed by an American reporter (Jane Fonda) and her husband, a has-been, French New Wave film director (Yves Montand).

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Posted by:
Tiffany Huang
Mar 31, 2008 5:20pm

Cleo From 5 to 7

Dir/Writer: Agnes Varda. 1962. Starring: C. Marchand, A. Bourseille, D. Davray, D. Blanc, M. Legrand. French. Drama/Foreign.

What defines the feminine experience? What does it mean to live, breathe, and die as a woman? Agnes Varda questions mortality through the eyes of a beautiful young woman on the edge of success in 1960's Paris. Cleo has been to the doctor and is waiting for the diagnosis, though she's convinced it's cancer. We follow her in real time for two hours and stand as witness to the fullness and frivolousness of a life coming to terms with itself.

Death and despair compel the coquettish Cleo into existential searching meeting with friends, lovers and strangers and we see her precise steps into and out of an other's preconceived perception. Coy lover, whimpering child, precocious beauty, passionate collaborator, old friend and lovely stranger: Cleo is all of these but then so much more as you realize she is fast forwarding the journey to find herself the anchor that she desperately needs to face her death and to fight for life.

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Posted by:
Jessica Kaman
May 31, 2008 3:13pm

Aguirre, The Wrath of God

Dir: Werner Herzog. 1973. Starring: Klaus Kinksi. German. Foreign/Cult.

Dense tropical jungle, violent river rapids, hostile natives, hundreds of screaming monkeys, and one man's decent into megalomania and madness. Aguirre, The Wrath of God, is one of Herzog's most hallucinatory and disturbing films. Filmed in the remote Peruvian rainforest Aguirre, The Wrath of God was Herzog's first collaboration with the notoriously volatile actor Klaus Kinski.

With Kinski, Herzog created his greatest and most anarchic rebel of them all. Aguirre is a Spanish Conquistador who travels down the Amazon River in search of the lost city of gold, El Dorado. Over the course of the film, Aguirre assumes command of the expedition by murdering and manipulating his fellow conquistadors. As they drift further and further down the river, Aguirre descends further into madness eventually becoming obsessed with power and claiming himself the 'Wrath of God'. It's Aguirre's descent into madness and megalomania that propels his obsessions with power and domination to reaching god-like illusion.

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Posted by:
Eric Kench
Jun 4, 2008 7:45pm

Signs of Life

Dir: Werner Herzog. 1968. Starring: Peter Brogle. German. Foreign.

Signs of Life is Werner Herzog’s first feature, and it is also my personal favorite out of all his films. In Signs of Life Herzog introduces many of the themes and techniques he would elaborate upon with each successive film. His cast of rebellious misfit characters, the remote exotic locations, and his hauntingly poetic images are all introduced and fully utilized in this film.

Signs of Life is the story of a soldier who is wounded during a war and reassigned to a remote Greek island with his wife and two fellow soldiers. Their task is to guard a useless munitions dump in a ruined fortress located next to the harbor in a small village. In an attempt to escape his feelings of entrapment, Stroszek goes out on a patrol of the bordering hills where he is gripped by madness at the site of something he sees over the horizon. This encounter drives Stroszek to madness propelling him to lock himself away in the fortress and declare war on both man and nature.

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Posted by:
Eric Kench
Jun 7, 2008 5:37pm

Even Dwarfs Started Small

Dir: Werner Herzog. 1969. German. Foreign/Cult.

There are some films that are so disturbing and bizarre that you can’t rationally explain them, you just have to experience it for yourself. Even Dwarfs Started Small is precisely one of those films. But seeing I love this film so much I’m going to try to describe it to the best of my ability.

Even Dwarfs Started Small, Werner Herzog’s second feature film, is about a group of dwarfs confined to an isolated institution of sorts. At the film’s start, the dwarfs find themselves left unattended at the institution they are confined to. The dwarfs feel unhappy and trapped in their surroundings and decide to rebel against their authorities. Over the course of the film, the dwarfs destroy anything they can get their hands on at the institution. The rebellion escalates to absurd and disturbing levels as the film approaches its bizarre and hysterical conclusion.

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Posted by:
Eric Kench
Jun 18, 2008 3:43pm
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