1. The Turin Horse (Béla Tarr, 2011)
2. Margaret (186-minute version, Kenneth Lonergan, 2011)
3. The Other Side of the Wind (Orson Welles, 2018)
4. Adieu au Langage (Jean-Luc Godard, 2014)
5. Holy Motors (Leos Carax, 2012)
6. Horse Money (Pedro Costa, 2014)
7. Bernie (Richard Linklater, 2011)
8. A Bread Factory (Patrick Wang, 2018)
9. Certified Copy (Abbas Kiarostami, 2010)
10. I, Dalio (or The Rules of the Game) (Mark Rappaport, 2015)
Read more
From Film Comment, November 1974. I suspect that one factor that may have kept me from scanning and posting this column until now, at least in its complete form, is my dissenting view of CHINATOWN and WHAT?, even before the former became fully canonized as Holy Writ. -– J.R.
Moving across the Channel, a profound difference in the cinematic climate becomes immediately apparent. How could it be otherwise, considering that the lifestyles that go with each city are so strikingly antithetical? Paris is all adrenalin and shiny surfaces, hard-edged and brittle and eternally abstract, the capital of paranoia (cf. Rivette) and street spectacle (cf. Tati), where café tables become orchestra seats as soon as the weather gets warm — the city where everyone loves to stare. London is just the reverse, a soft-centered cushion of comfort where trust and accommodation make for a slower, saner, and ostensibly less shrill mode of existence: relatively concrete and prosaic, more spit and less polish, a city more conducive to eccentricity than lunacy. Relatively speaking, London isn’t a movie town. It’s considerably easier to go out to films in Paris and to be more selective about what one sees, because the area is smaller and the action tends to be more concentrated. Read more
From the Chicago Reader (October 2, 1992). — J.R.
Far and away the best SF movie of the 80s, though a critical and commercial flop when it first appeared (1982), Ridley Scott’s visionary look at Los Angeles in the year 2019 — a singular blend of glitter and grime that captures both the horror and the allure of capitalism in the Reagan era with the claustrophobic textures of a Sternberg film — is back in a new version that more closely approximates the director’s original intentions, minus the offscreen narration and happy ending and with a few brief additions. Loosely adapted by David Webb Peoples (who later scripted Unforgiven) and Hampton Fancher from Philip K. Dick’s novel Do Androids Dream of Electric Sheep?, the story mainly concerns the tracking down and killing of “replicants” (lifelike androids) by the hero (Harrison Ford), and much of the film’s erotic charge and moral and ideological ambiguity stems from the fact that these characters — Joe Turkel, Sean Young, Darryl Hannah, Rutger Hauer, and Joanna Cassidy — are very nearly the only ones we care about. (We never know for sure whether Ford is a replicant himself, and one advantage to this version is that it makes this uncertainty more explicit.) Read more
