Invaders from Mars (1953) **

Terrific first half hour then there's too much footage of tanks and the finale goes off the rails. Along the way it's well filmed and for the time fairly provocative.

Chess of the Wind (1976) **

Nice to look at but the story is not compelling and the characters one dimensional.

The Killer Is Loose (1956) **

Boffo finale and a terrific Wendell Corey performance saves this police procedural that sorely lags in the middle.

“Megadoc” Shows Francis Ford Coppola Going for Broke on “Megalopolis”

A revelatory sequence in “Megadoc” shows Coppola arguing with the cinematographer, Mihai Mălaimare, Jr., about the lighting of a shot, which Mălaimare wants to keep consistent with other shots in the scene, for the sake of a conventionally smooth edit. Coppola says that Mălaimare has no business anticipating how the film will be edited, and the director lays down the law: “To me, your job is not to match all the light. Your job is to get beautiful images of the scenes that we have.”

Modern cinematographers need to learn this.

Possession (1981) ****

A film that never condescends, featuring a trio of superb performances. It's often harsh but always true to the story and the point.

The Thursday Murder Club (2025) *

The gracefully ageing stars make it watchable...to a point.

To the Devil a Daughter (1976) **

Handsomely produced and lushly filmed with a top notch cast, ultimately silly but always watchable. Nice to see Dick Widmark as the hero for a change.

The Green Cockatoo (1937) ***

Nifty early Brit noir with a Cagney-esuqe turn by a young John Mills. Looks great, breakneck pace, witty script.

Coup de Chance (2023) **

It's Woody in Paris with his long takes, colorful lighting and philosophical musings on the role of luck in all our lives. A pleasant 90 minutes.

Bad Boy Bubby (1993) **

It's a wild, meandering trip that often hits some high marks. Funny, horrifying, macabre but always interesting.

Teorema (1968) **

Just this side of heavy-handed, a well acted fable about a rich family destroyed by the all too alluring Terry Stamp.

Alexander Payne on What's Wrong With Modern Films

You’re planning on making a Western as a possible future project.

I’m moving to Denmark in the Fall. I’m going to make a proper European art film. I got European citizenship about four years ago. I’m Greek. I don’t care that much about Greek citizenship, per se, but I got it with a very practical goal in mind, which was to make films in Europe and qualify for state funding, and the Film Gods brought me this project in Danish [“Somewhere Out There”]. Renate Reinsve is going to be in it. When I finish that, then I’m going to start work on a sequel to my film “Election,” that I made 25 years ago, and then I’ll get to the Western. The one I’m really most interested in doing. And I’m about 30 or 40 bad pages into it.

Italian Studies (2021) ***

Resoundingly answers the question "Can Vanessa Kirby carry a film?" in the affirmative. Nicely photographed essay about a writer in a fugue state or is she just lost inside her own stories?

Cassandra's Dream (2007) ***

At times the seams are showing in this neo-noir but the two leads are terrific and worth watching.

Caught by the Tides (2024) **

Cleverly constructed, well paced study of life and love in modern China. Almost a silent film with some startling images particularly at the finale.

The Plot Against Harry (1971) ***

This peek into late 60's NYC Jewry and the city itself is a low budget gem that proves talent is better than dollars. Top notch production. Funnier and more insightful than other big budget films of the day.

After Dark, My Sweet (1990) ***

Terrific neo-noir has a taut script and a stellar cast. Some slight directorial missteps but beautifully shot and produced. Peak Rachel Ward.

Time After Time (1979) **

Interesting concept and McDowell and Warner provide strong turns but it could have used some trimming. Nice 1970's SF location shots.

Return from the Ashes (1965) ***

Nifty thriller with a sharp script, three superb leads and lovely b/w shooting by the reliable Chris Challis.

The Sandpiper (1965) **

Gorgeous Big Sur locations and Liz & Dick undone by glacial pacing and an extremely wordy, not to mention ham-fisted, screenplay. Eva Marie stands out.