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House (Nobuhiko Obayashi, 1977)
Resembling an eccentric feature-length television commercial, the film is a creative yet somewhat scattershot dwelling of imagination.
Grant Phipps becomes lost in... -
Secret Sunshine (Chang-dong Lee, 2007)
Through an emotionally charged performance from Do-yeon Jeon, the film grippingly magnifies the relationship between faith and pain despite its extensive running time.
Grant Phipps reveals... -
Play Time (Jacques Tati, 1967)
Quintessential for repeated viewings, the film satires, adores, portends architectural and cultural change.
Grant Phipps values... -
The Big One - The Reconstruction (Sam Fuller, 1980/2004)
This ambitious reconstruction of Sam Fuller's 1980 film adds forty minutes to the running time in an effort to capture the director's original vision. Does it succeed?
Angel Aguilar deconstructs... -
Test Screens and Static Dreams #1
In his brand new television column, David Coleman examines what went wrong in the first season of CBS crime drama Blue Bloods.
This may take some time... -
Black Moon (Louis Malle, 1975)
Whether defined as visual odyssey, literary allusion, or filmmaker's self-therapy, the film remains an interesting question.
Grant Phipps dreams of the... -
Rififi (Jules Dassin, 1955)
56 years on from its initial release, Jules Dassin's 1955 caper movie remains an undisputed classic of the genre
Angel Aguilar reflects on Rififi... -
Sans Soleil (Chris Marker, 1983)
Designed to stimulate possibilities rather than finalities, Marker’s essay film speaks across languages about the possibilities of human memory.
Grant Phipps absorbs... -
Preview: Sheffield Doc/Fest 2011
Next week, Sheffield Doc/Fest returns early in a new summer slot, with a pretty sharp-looking line up. Here’s a brief glance at this year’s runners and riders.
Joe Gastineau looks ahead... -
The White Sheik (Federico Fellini, 1952)
Fellini's solo directorial debut is a modest but celebratory film that gives modern audiences a beguiling glimpse into his developing genius.
Grant Phipps follows...
