Much Ado About Nothing (1993)

reviewed by Michael Burgin

Originally published on July 1, 2000

Much Ado About Keanu In the history of film adaptations of Shakespeare, certain performances have so captured the essence of a character that the actor and role are forever linked afterwards. There is Olivier’s Hamlet, Olivier’s Richard III, Welles’ Othello, and Keanu Reeves’ Don John. Um, wait…did I say Keanu Reeves? How can I include [...]

Freaks (1932)

reviewed by Nick Burton

Originally published on June 1, 2000

According to David J. Skal and Elias Savada’s excellent book, Dark Carnival: The Secret World of Tod Browning, the source of Freaks – a short story by Clarence Aaron “Tod” Robbins called “Spurs” – was first brought to the Dracula director’s attention by dwarf actor Harry Earles (who had been in Browning’s The Unholy Three [...]

The Passion of Joan of Arc (1928)

reviewed by Nick Burton

Originally published on May 1, 2000

What makes this film remarkable in its execution is that the film is shot entirely in close-ups, the actors looking uncomfortably real in their austere, claustrophobic setting.

Goldfinger (1964)

reviewed by Nick Burton

Originally published on May 1, 2000

I love the Sean Connery Bond films, particularly Goldfinger and Thunderball, as they represent the point where the Bond series was still in the twilight zone between Ian Fleming’s idealized exploits of a British intelligence agent and a knowing self-parody of its own milieu.

The Color of Pomegranates (1969)

reviewed by Nick Burton

Originally published on August 1, 1999

Paradzahnov’s film was considered dangerous enough to Soviet ‘realism’ with its relentless Christian iconography that it was not shown outside the Soviet Union until the `70s, while Paradzhanov himself was sent to a gulag …

Nostalghia (1983)

reviewed by Nick Burton

Originally published on August 1, 1999

Tarkovsky, the son of a poet, uses an almost entirely poetic approach to filmmaking that bravely lets the audience decode for itself a good deal of what is shown. Yes it is difficult viewing and very demanding. But isn’t the function of poetry to use an almost codified personal language to express ideas?

The Dead Director’s Society

reviewed by Nick Burton

Originally published on August 1, 1999

For the first meeting of the Dead Director’s Society, Nick takes a look at four films that explore poetry both as subject-matter and as an expressive form transferred directly to celluloid.

Tales of Ordinary Madness (1982)

reviewed by Nick Burton

Originally published on August 1, 1999

This is magnificent, edgy filmmaking that brilliantly matches the savage beauty of [Charles] Bukowski’s poetry .. The sex, particularly the scenes with Tyrrell, manage to capture brilliantly the tone of poems like “One of the Hottest” … [where Bukowski writes] you boys can keep your virgins / give me hot old women in high heels with asses that forgot to get old.

Orpheus (1949)

reviewed by Nick Burton

Originally published on August 1, 1999

Shot through with Cocteau’s sense of benign Surrealism … and enhanced by some absolutely striking and simple special effects, the film has made a lasting impression on a whole generation of directors….

Prospero’s Books (1991)

reviewed by Nick Burton

Originally published on July 1, 1999

Welsh-born director and artist Peter Greenaway has yet to make a film that isn’t fascinating and original , from the 17th century mystery The Draughtsmans’ Contract (1982) to the disturbing and obsessive black comedies A Zed and Two Naughts (1985) , Drowning by Numbers (1988) and the wonderfully grotesque The Cook, The Thief, His Wife [...]