His noirish Western remake of HIGH SIERRA, COLORADO TERRITORY, is one of the bleaker Joel McCrea vehicles too.  THE ROARING TWENTIES is kind of a forerunner to GOODFELLAS as well.

His noirish Western remake of HIGH SIERRA, COLORADO TERRITORY, is one of the bleaker Joel McCrea vehicles too.  THE ROARING TWENTIES is kind of a forerunner to GOODFELLAS as well.

American films in the 70s tended to update genres and conventions in ways that reflected the pessimism and malaise of the times, utilizing techniques that sought to emulate a certain naturalism in style.   90s movies seemed to have been driven by a more subjective ethos, emphasizing how genres and conventions can be…

American films in the 70s tended to update genres and conventions in ways that reflected the pessimism and malaise of the times, utilizing techniques that sought to emulate a certain naturalism in style.   90s movies seemed to have been driven by a more subjective ethos, emphasizing how genres and conventions can be…

I really enjoyed this series.  While its not generally acknowledged, quality wise, the nineties (extending into 2002 or thereabouts) seem to constitute a second golden age that rivals the era from 1966-80.  I'm looking forward to the orphans.

I really enjoyed this series.  While its not generally acknowledged, quality wise, the nineties (extending into 2002 or thereabouts) seem to constitute a second golden age that rivals the era from 1966-80.  I'm looking forward to the orphans.

I think that the movie paints Schindler in more ambiguous terms in the first 2 1/4 hours before it succumbs to hero worship.  The film is very powerful and objective regarding Schindler up to the 2/3rds mark, but I'd agree that the last hour is disappointing.

I think that the movie paints Schindler in more ambiguous terms in the first 2 1/4 hours before it succumbs to hero worship.  The film is very powerful and objective regarding Schindler up to the 2/3rds mark, but I'd agree that the last hour is disappointing.

Or young people who don't know how to check out Netflix

Or young people who don't know how to check out Netflix

Certainly in the 60s and 70s—maybe not so much in the 90s.  EWS is a good, and at the time of its release a misunderstood movie, but it lacks a certain hook that made Kubrick so compelling when the studios began catering to the art house promulgation of the Great Director theory

Certainly in the 60s and 70s—maybe not so much in the 90s.  EWS is a good, and at the time of its release a misunderstood movie, but it lacks a certain hook that made Kubrick so compelling when the studios began catering to the art house promulgation of the Great Director theory

De Palma's brilliance with visual and their thematic import tends to make much of his work a bit abstract and cold.  I think Martin Bregman had a hand in insuring that De Palma's work with him had stronger story values and characterization than with other producers.

De Palma's brilliance with visual and their thematic import tends to make much of his work a bit abstract and cold.  I think Martin Bregman had a hand in insuring that De Palma's work with him had stronger story values and characterization than with other producers.

I kind of agree on RED, but BLUE was genuinely mysterious and engrossing and WHITE was a nasty undertaste.

I kind of agree on RED, but BLUE was genuinely mysterious and engrossing and WHITE was a nasty undertaste.

When Tarantino first burst onto the film scene, he deftly fused the populist appreciation of American genre films associated with the critics in the French New Wave to the aesthetics and sensibilities of 70s Hollywood.  Whereas Godard and Truffaut pursued more varied themes beyond their cinephilia, Tarantino seems…

When Tarantino first burst onto the film scene, he deftly fused the populist appreciation of American genre films associated with the critics in the French New Wave to the aesthetics and sensibilities of 70s Hollywood.  Whereas Godard and Truffaut pursued more varied themes beyond their cinephilia, Tarantino seems…

Strong list.  I'd put JACKIE BROWN on top, although all entries in Tarantino's unofficial L.A. trilogy stands up overall.  I'll put my own nominations in for CRIMSON TIDE and MAP OF THE HUMAN HEART as the decades lost or overlooked movies

Strong list.  I'd put JACKIE BROWN on top, although all entries in Tarantino's unofficial L.A. trilogy stands up overall.  I'll put my own nominations in for CRIMSON TIDE and MAP OF THE HUMAN HEART as the decades lost or overlooked movies