"Where do these people come from? Where do they go when the sun goes down? Isn't there a law or something?" -- Rex Reed
Matt S '67 Patron
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1969
Liked Rewatched
This review may contain spoilers. I can handle the truth.
On Her Majesty's Secret Service, the sixth film in the Bond franchise, was initially seen as a misstep. George Lazenby—a male model with no prior acting experience—was widely regarded as an inadequate replacement for Sean Connery. But like several Bond films, time has been kind to this one. It’s aged beautifully.
Peter R. Hunt, making his sole outing as a Bond director, delivers what may be the best-directed film in the series until Martin Campbell’s Casino Royale reboot in 2006…
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1964
Liked 1
Shirley Eaton’s gold-painted body might just be the most enduring image in the entire Bond canon. Goldfinger is the most iconic entry in the series—the film where all the essential Bond elements finally lock into place: the gadgets, the Aston Martin DB5, Robert Brownjohn’s hypnotic opening titles, Shirley Bassey belting the definitive theme song, and of course, Honor Blackman’s immortal (and ridiculous) character name.
It’s all a blast—and it looks fantastic, thanks in no small part to Ken Adam’s unforgettable…
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1969
Liked Rewatched
This review may contain spoilers. I can handle the truth.
On Her Majesty's Secret Service, the sixth film in the Bond franchise, was initially seen as a misstep. George Lazenby—a male model with no prior acting experience—was widely regarded as an inadequate replacement for Sean Connery. But like several Bond films, time has been kind to this one. It’s aged beautifully.
Peter R. Hunt, making his sole outing as a Bond director, delivers what may be the best-directed film in the series until Martin Campbell’s Casino Royale reboot in 2006…
Translated from by
1964
Liked 1
Shirley Eaton’s gold-painted body might just be the most enduring image in the entire Bond canon. Goldfinger is the most iconic entry in the series—the film where all the essential Bond elements finally lock into place: the gadgets, the Aston Martin DB5, Robert Brownjohn’s hypnotic opening titles, Shirley Bassey belting the definitive theme song, and of course, Honor Blackman’s immortal (and ridiculous) character name.
It’s all a blast—and it looks fantastic, thanks in no small part to Ken Adam’s unforgettable…
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2022
Liked 5
Varda: Now, talking about cinema: would you tell me your definitions of reality and fiction?
Pasolini: There's no difference between reality and fiction because cinema is reality expressing itself through itself. In reality, I can photograph a man walking down a street. He's not aware that he's being filmed, and this is reality. If I choose an actor to play that man, then there's another reality, the actor's reality. But it's always reality, it's never fiction. I always take an actor for what he is, I don't like him to act.
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2022
A messy, unfocused anthology with a promising concept—stories about women, created by women—that sadly collapses under its uneven execution.
Segment Breakdown:
1. “Pepcy & Kim” (dir. Taraji P. Henson, written by Catherine Hardwicke)
Jennifer Hudson gives a stilted, overwrought performance as a prisoner struggling with addiction and mental illness, in a segment directed with little subtlety or style by Henson. Opening an anthology with your weakest short is a baffling choice, no matter how famous the names associated with it.
★☆☆☆☆…
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2022
Liked 5
Varda: Now, talking about cinema: would you tell me your definitions of reality and fiction?
Pasolini: There's no difference between reality and fiction because cinema is reality expressing itself through itself. In reality, I can photograph a man walking down a street. He's not aware that he's being filmed, and this is reality. If I choose an actor to play that man, then there's another reality, the actor's reality. But it's always reality, it's never fiction. I always take an actor for what he is, I don't like him to act.
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2022
A messy, unfocused anthology with a promising concept—stories about women, created by women—that sadly collapses under its uneven execution.
Segment Breakdown:
1. “Pepcy & Kim” (dir. Taraji P. Henson, written by Catherine Hardwicke)
Jennifer Hudson gives a stilted, overwrought performance as a prisoner struggling with addiction and mental illness, in a segment directed with little subtlety or style by Henson. Opening an anthology with your weakest short is a baffling choice, no matter how famous the names associated with it.
★☆☆☆☆…
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