Cinemasparagus

Inspired by recent viewings of Josef von Sternberg's 'Morocco' (1930) and 'Blonde Venus' (1932), I recycle here a few th...

The screenings in the Museum of the Moving Image series "The Complete Jacques Rivette" (something of a misnomer: there will be no ...

A few quickly dashed-off thoughts, following a brief R.I.P. for Gary Graver, the key figure in the late works of Orson Welles (in addition t...

Brad Stevens wrote the following at a_film_by, which helps recontextualize Terrence Malick's 'The Thin Red Line' -- a film which...

A few notes from the end of the rope: When the cinema yields intimations of sickness, they are best divined from some place beyond despair, ...

The reputation of Fritz Lang's 1927 film is built on its qualities as a dreamscape, a design portfolio, and its ease of access as a para...

Notes on Jacques Rivette's 'La Belle noiseuse' ('The Beautiful Nuisance', 1991) — "Breaking through". One plac...

"Thank you, Kriemhild. Never were we one in love, but at last we are united, as one in hate!" "Never was my heart more filled...

I recently rewatched 'Siegfrieds Tod' ('Siegfried's Death', 1924), the first film in Fritz Lang's two-part "Ger...

Chris Marker's 1985 meditation on Akira Kurosawa and the location shoot for his film 'Ran' ('Chaos', 1985) is about youn...

Fritz Lang's 1921 film 'Der müde Tod' ('Weary Death') still fascinates. The picture is a link between the early silents,...

Looking forward to 'The New World' (and the new 2-hour cut) I sat down for a refresher with Malick's previous films. I had been...

To revisit Terrence Malick's first feature, 'Badlands,' is a thrill, and I only wish I were immediately able to see it again on ...

The third film in Spielberg's 9/11 trilogy, 'Munich' finds the director dispensing with the overwrought allegory of 'The Ter...

On occasion I might visit this Cinemasparagus to post some writing about the movies. This is more an introductory test-text than anything e...