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Daniel Bruhl recommended Le samouraï (1967) in Movies (curated)

 
Le samouraï (1967)
Le samouraï (1967)
1967 | Crime, Film-Noir
8.8 (8 Ratings)
Movie Favorite

"Another film with Alain Delon. It’s interesting — probably he was my favorite actor when I was 16, and then I was a bit disappointed of how he changed when he became older. I guess also politically, but that doesn’t matter. As a young man, he played some very enigmatic and wonderful roles. Another favorite film of mine … It’s a genre film, Le Samourai, by Melville. It’s an incredibly cool gangster film. Just the opening, I think, is 20 minutes where not a word is spoken and you always see Alain Delon with his hat and his trench coat. It is just an incredibly stylish and aesthetically wonderfully shot genre gangster film. In German, it’s the Ice Cold Angel, but the Germans always have these funny titles."

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Erik Stolhanske recommended Husbands (1970) in Movies (curated)

 
Husbands (1970)
Husbands (1970)
1970 | Classics, Comedy, Drama
10.0 (1 Ratings)
Movie Favorite

"One summer, they were doing a ’70s movie revival at the Film Forum in New York, and Soter and I would go see double features; you pay for one, you see two. All ’70s movies. It was great, so we’d go there all the time. One of my favorites was John Cassavetes‘ Husbands. That was a great, funny movie; first of all, it was cool because a lot of it was improvised. There’s Peter Falk, Ben Gazzara, John Cassavetes…one of their buddies dies, so they basically decide life’s too short and they’re going to go get drunk one night and reflect on life. So it’s one night of these guys going out and drinking, but then they end up going to London."

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Lev Kalman recommended Blood for Dracula (1974) in Movies (curated)

 
Blood for Dracula (1974)
Blood for Dracula (1974)
1974 | Classics, Comedy, Drama
7.5 (2 Ratings)
Movie Favorite

"This is the kind of film I love most—the kind I’m never really comfortable recommending to anyone. I can totally picture someone saying, “It’s awful,” and I’d be like, “Yeah. I see that.” Like, why is it so funny? And why, despite the constant silliness—an effete, vegetarian, sulky Dracula; Joe Dallesandro as a he-man socialist Brooklyn peasant; the jokes about finding young “wirgins”—is the overall effect so mournful and lonely? I think the answer has to do with the way the film never telegraphs its intentions. It modulates between horror, satire, spoof, porn, and tragedy, but imperceptibly. To catch the changes, you have to be in the flow of the movie, enthralled by it—and then everything works."

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