Tag Archives: nicholas ray

We Can’t Go Home Again (Nicholas Ray, 1973)

“Nick Ray’s experimental final film finally finds a home on Blu-ray from Oscilloscope, glossed with plenty of contextual extras, including a late-period nugget or two for the completists out there.” Read my review of We Can’t Go Home Again, out … Continue reading

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Nicholas Ray Blogathon: Nicholas Ray, Poet of Violence

My contribution to the ongoing Nicholas Ray Blogathon appears on the official Slant Magazine blog site, The House Next Door.

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The Films of Anthony Mann (Part 2): Railroaded, Raw Deal, Border Incident, Side Street

One of three films noir Anthony Mann released in 1947 alone (T-Men and Desperate being the other two), Railroaded is a solid, visually exciting genre effort, though at bottom it’s a fairly conventional police procedural, with just enough noir emphasis … Continue reading

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The Films of Anthony Mann (Part 1): Desperate, The Black Book (aka Reign of Terror), Devil’s Doorway, The Tall Target

After trying to get through the thoroughly old-fashioned Two O’Clock Courage (1945), an ideal cure for insomnia interesting only for its opening dolly-in and crane shot of an injured Tom Conway standing at a crossroads, bleeding from a nasty head … Continue reading

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“The Great Whatsit”: Kiss Me Deadly (Robert Aldrich, 1955)

Kiss Me Deadly doesn’t so much paint classic film noir into a generic cul-de-sac as blow it right out of the water, clearly intimating The End. (Only Touch of Evil [1958] remains to set a battered and charred headstone atop … Continue reading

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Capsule Reviews: June 24 – July 11

For Your Height Only (Eddie Nicart, 1981) Queen of Black Magic (Liliek Sudijo, 1983) Two from cult DVD label Mondo Macabro’s schlockmeister of choice, producer Dick Randall. Hands down the more amusing entry, Height towers over the competition—if by competition … Continue reading

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Capsule Reviews: April 23 – 30

I Love You, Alice B. Toklas (1968) – 4/5 Paul Mazursky’s screenwriting debut tells the uproarious story of a square Jewish lawyer Harold Fine (Peter Sellers) who tunes in, turns on and drops out with hippie Leigh Taylor-Young. Mazursky uses … Continue reading

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