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The New Centurions (1972, Richard Fleischer)
I was going to start this post saying complementary things about Richard Fleischer, something about how his mediocrity doesn’t get in the way of the film (and the film’s melodramatic mediocrity). Then...
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The Italian Job (1969, Peter Collinson)
What a strange film. I’d never really heard of it, past the title, so… I didn’t know what to expect, but even if I’d known something about it, I doubt I could have expected it. Collinson is a fantastic...
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In the Heat of the Night (1967, Norman Jewison)
Warren Oates can be affable. I had no idea. In the Heat of the Night is a bit of a disappointment–not the acting, not the directing, just the script. The film plods as the script tries to come up with...
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The Getaway (1972, Sam Peckinpah)
From the lengthy opening credits to the big action finale, it's always clear sound is important in The Getaway. Editor Robert L. Wolfe does some wonderful transitions with sound foreshadowing the cut...
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John and Mary (1969, Peter Yates)
Dustin Hoffman and Mia Farrow are John and Mary, respectively, and they’ve just woken up after spending the night together. They met at a singles bar. Is it going to be a one night stand or is it going...
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John and Mary (1969, Peter Yates)
Dustin Hoffman and Mia Farrow are John and Mary, respectively, and they’ve just woken up after spending the night together. They met at a singles bar. Is it going to be a one night stand or is it going...
View ArticleClik here to view.
John and Mary (1969, Peter Yates)
Dustin Hoffman and Mia Farrow are John and Mary, respectively, and they’ve just woken up after spending the night together. They met at a singles bar. Is it going to be a one night stand or is it going...
View ArticleClik here to view.
The Getaway (1972, Sam Peckinpah)
From the lengthy opening credits to the big action finale, it's always clear sound is important in The Getaway. Editor Robert L. Wolfe does some wonderful transitions with sound foreshadowing the cut...
View Article
