Word: films
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...White Ribbon:” Just kidding. With or without “Avatar,” no one really would really care about Michael Haneke’s allegorical drama, although it might well be the best film of the year. Another one to watch for in February is “A Prophet,” Haneke’s equally dreary, equally subtitled competition for critically-anointed, unseen European film of the year...
...Third Dimension: Critics have shown “Avatar” remarkable lenience because of the perception that it will kickstart the 3-D segment of the film market, which up until now has been remained marginal, despite being populated by lucrative-but-questionable gems such as “Transformers: Revenge of the Fallen” and “My Bloody Valentine 3-D.” It’s true that Cameron managed to force the design and adoption of certain technologies a few years before they might otherwise have been picked up. However, three-dimensional...
...Rohmer and Erich W. Segal’59: While critics and bloggers were busy debating the possible racist connotations of “Avatar” verses its technological implications, the death of some influential film figures went relatively unnoticed. One of the seminal directors of the French New Wave, Éric Rohmer, passed away on January 11, leaving behind a large body of films, many of which were organized in series around common problems of morality and relationships. If you share the conviction of Gene Hackman’s character in “Night Moves?...
Boasting a number of famed director Peter Bogdanovich’s most beloved movies, including “Paper Moon,” “The Last Picture Show,” and “What’s Up Doc?,” the Harvard Film Archive’s (HFA) newest series, entitled “Peter Bogdanovich, Between Old and New Hollywood,” explores the director’s penchant for classic Hollywood style. The festival, which began on January 29th and will continue until February 8th, also delves into some...
...earlier stages of his career, Bogdanovich served as a film critic for “Esquire,” and also profiled and orchestrated tributes to some of Hollywood’s finest directors, including Alfred Hitchcock and Orson Welles, as a worker in the Film Department of the Museum of Modern Art. Making his directorial debut in 1968 with “Targets,” Bogdanovich quickly established himself as one of the industry’s brightest new talents. A string of tremendously successful films in the early 1970s, including “The Last Picture Show...