CinePassion is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Fernando F. Croce
The Cheat (1915)
[Cecil B. DeMille] understands the cinematic zones where the dueling impulses of prudery and titillation meet.
Posted Nov 12, 2019
The Hunt (La caza) (1966)
Shotguns and pistols, scopes and binoculars, rock 'n' roll and martial drums.
Posted Sep 10, 2019
Nancy Dowd's blueprint has scrappy traces of The Girl Can't Help It (and the seeds of Madonna, Courtney, Britney...), Lou Adler's direction has an exhausted band wrangler's acquaintance with waves and fads.
Posted Apr 11, 2019
Two Thousand Maniacs! (1964)
Having picked up a modicum of craft since Blood Feast, Lewis integrates the gruesome money-shots less maladroitly into the story. Still, his sideshow-barker shamelessness remains undimmed.
Posted Mar 29, 2019
Robot Monster (1953)
Let the dullards have their Most Amusingly Bad contests and Golden Turkey trophies, the cinephile will receive Tucker's surrealism with pleasure and notice the sketches for The Man Who Fell to Earth.
Posted Dec 28, 2018
Sprawling canvas to Alea's intimate inquiry, Humberto Solás' political-personal epic locates the characters posed on the shifting historical tectonics
Posted Jun 19, 2018
Paranoia (Orgasmo) (1969)
Umberto Lenzi takes the smooth Chabrolian veneer and spreads a little grime over it
Posted Jan 30, 2018
A Short Film About Killing (1988)
The obscured-vision effects of Slawomir Idziak's dirty-sepia filters -- characters encircled by soiling irises -- suggest isolated realities clashing appallingly in the most excruciating murder since Torn Curtain's farmhouse killing.
Posted Apr 5, 2017
A Short Film About Love (1988)
A moral tract, like Krzysztof Kieslowski's other Dekalog expansion, though physical contact here revolves around the brutality of emotion, rather than killing -- the results are no less visceral.
Posted Apr 5, 2017
The Ophüls question ("Quelle heure est-il?") is always in the air, along with the tilting, craning and tracking that link and sever feelings.
Posted Mar 1, 2017
One of Sacha Guitry's most enjoyably ephemeral soufflés.
Posted Nov 21, 2016
The Last House on the Left (1972)
Indelibly scummy, Wes Craven's freshman shocker is less a rip-off of The Virgin Spring than a purposefully degraded update, with the medieval barbarism of the original cannily transplanted to Vietnam-era America.
Posted Oct 19, 2016
The Abominable Dr. Phibes (1971)
A sardonic wink, back at The Phantom of the Opera and ahead toward Phantom of the Paradise, with The Avengers as structure and plenty of Franju in the mix.
Posted Oct 19, 2016
The recurring vision of the staring blonde child comes from Flemish painting, the early image of sundry crucifixes like mushrooms on a mossy boulder comes from Mario Bava
Posted Oct 18, 2016
The Queen of Spades (1949)
Otto Heller's chiaroscuro cinematography and Oliver Messel's Gothic designs play vital roles in Dickinson's thorough demolition of period genteelness for the horror in it.
Posted Oct 18, 2016
The Outlaw Josey Wales (1976)
Eastwood's laconic gunslinger leaves a trail of bodies and tobacco spit throughout the film, but the trajectory lies in his questioning of the Man-of-No-Name mold though interaction with the more earthbound humans.
Posted Jul 27, 2016
From Russia With Love (1964)
The series' tightest expression of brutes playacting as gentlemen
Posted Apr 12, 2016
The Struggle (1931)
Griffith doesn't cloak the story's creakiness, he faces it head-on and erects images to embody and purify its emotions.
Posted Apr 7, 2016
The Lost Weekend (1945)
Dry alkies and wet teetotalers perpetually out of balance, startlingly laid out by Wilder as a lonely metropolis' quivering nervous system
Posted Mar 13, 2016
The Producers (1968)
Brooks in his feature debut already knows that vulgarity is both meticulous art and timeless industry
Posted Mar 5, 2016
Zulawski's grand and shivery art-therapy hallucination, a burlesque farrago of domestic dramas played close and fast in a distinctively Polish register
Posted Feb 22, 2016
On the Town (1949)
Kelly and Donen take the MGM musical outdoors, the New York minute is stretched to 24 hours
Posted Feb 20, 2016
Wild Strawberries (1957)
Bergman's dual journey of remembrances and reveries
Posted Feb 16, 2016
Johnny Guitar (1954)
Nicholas Ray's overwhelming ballad
Posted Jan 31, 2016
Fellini's sad and magical nocturne, a demimonde hopping to Nino Rota's nightclub mambo and Masina's wondrous way with silent-movie throbs
Posted Jan 20, 2016
The Fearless Vampire Killers (1967)
Lustrous caricature of Hammer frights
Posted Nov 26, 2015
David Copperfield (The Personal History, Adventures, Experience, & Observation of David Copperfield the Younger) (1935)
The screen bulges from the pleasure of Dickens
Posted Nov 22, 2015
Where the Sidewalk Ends (1950)
A beautiful system of obsessions and ambiguities
Posted Nov 21, 2015
Breakfast at Tiffany's (1961)
The crossroads of Fifties and Sixties, party and hangover and romanticism and desperation lustrously distributed across the widescreen by Blake Edwards
Posted Nov 16, 2015
Bernanos' Catholic yoke via Robert Bresson's agnostic compassion, an incomparable flow of encounters and challenges
Posted Nov 8, 2015
The most oneiric of Argento frights
Posted Nov 7, 2015
The dawn of French talkies
Posted Nov 7, 2015
Eyes Without a Face (1962)
The frisson nonpareil of morbid poetry
Posted Oct 25, 2015
A slow-motion valse, a thesis on aestheticism, a raid on the fabrication of illusions
Posted Oct 12, 2015
Blithe Spirit (1945)
The supernatural ménage of wartime England, staged by David Lean as an elegant fissure between the clipped precision of aristocratic manners and the great unknown beyond the drawing-room
Posted Oct 10, 2015
Island of Lost Souls (1933)
Wells' beastly allegorical satire, mounted by Erle C. Kenton as a pre-Code scald of the lunacy of colonial dominion
Posted Oct 8, 2015
I Wanna Hold Your Hand (1978)
The maiden voyage in Zemeckis' sarcastic time machine
Posted Oct 7, 2015
The Train (1965)
A ripping system of motion, at once streamlined spectacle and thorny moral quandary
Posted Oct 6, 2015
Number Seventeen (Number 17) (1932)
A most endearing Alfred Hitchcock whirl
Posted Oct 3, 2015
Used Cars (1980)
Sixties nostalgia from I Wanna Hold Your Hand shifts to bracing vulgarity circa late-'70s, just as Kurt Russell graduates from Disney to conman greasiness.
Posted Oct 2, 2015
Dance, Girl, Dance (1940)
Without rising out of the cinematically conventional, the movie's self-reflexivity continually questions the gaze of the camera.
Posted Sep 28, 2015
'The old triangle stuff' with a new rigor of scrutiny, that's William Wyler on Sinclair Lewis
Posted Sep 27, 2015
Gold Diggers of 1933 (1933)
The Depression as a period of artists in suspension, Busby Berkeley to the rescue
Posted Sep 26, 2015
A friendly rivalry with Flaherty informs the venture, a record of vital importance for Rouch, Herzog, Güney, et al.
Posted Sep 21, 2015
The French Connection (1971)
Gangbusters adjusted to the new decade's grungy ambiguity
Posted Sep 8, 2015
Lang's allegory of allegories posits humanity's progress as a collision not just of labor and management but of technology and sorcery
Posted Sep 5, 2015
Devil's Doorway (1950)
Mann in his first western is a good two decades ahead of the game
Posted Aug 31, 2015
The Incredible Shrinking Man (1957)
A case of tangible metamorphosis and spiritual expansion, a unique Jack Arnold mastery
Posted Aug 29, 2015
Lumet in his first film records it as a meticulous laboratory experiment, a clammy orchestra
Posted Aug 26, 2015
The Naked Spur (1953)
A plein air chamber piece and a masterwork of location shooting
Posted Aug 23, 2015