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The Discreet Posts of the Bourgeoisie
- Chandler’s Trailers: “The Alphabet Murders” (1965)
- Chandler’s Trailers: “The Card Counter” (2021)
- Chandler’s Trailers: “The Hound of the Baskervilles” (1978)
- Suspicious Minds: “Elvis” (2022)
- Dear Cinema Santa: 2022 Edition
- “There Ain’t No Sanity Clause”: Classic Film Images Photo Quiz, Dec. 2022 Edition, Vol. 12.25
- Untrue Confessions: “Witchfinder General” (1968)
- Concession Stand Bites: “Belfast” (2021)
- Vacancy: “Hotel” (1967)
- Haven’t We Killed Here Before?: “The Formula” (1980)
- Railroaded: “Fool’s Parade” (1971)
- TCM’s Chicken or Egg Conundrum
- Chandler’s Trailers: “The Batman” (2022)
- Boom and Boom Again: “The Suicide Squad” (2021)
- Concession Stand Bites: “The Legend of the Lone Ranger” (1981)
- Bats: Classic Film Images Photo Quiz, July 2022 Edition, Vol. 9
- Entropy Is What It Used To Be: “Tenet” (2020)
- Blood and Sand: “The Longest Day” (1962)
- Barred: Classic Film Photo Quiz, June 2022 Edition, Vol. 25 – Life
- Eye of the Needle: Classic Film Images Photo Quiz, April 2022 Edition, Vol. 60
- Repeating Trifle: “Comanche Territory” (1950)
- When Your Fingers Did the Walking: Classic Film Images Photo Quiz, March 2022 Edition, Vol. 411
- Slippery Slopes: Classic Film Images Photo Quiz, Feb. 2022 Edition, Vol. -10
- Whiskers: Classic Film Images Photo Quiz, Jan. 2022 Edition, Vol. 9
- Have I Got A Girl For You: Classic Film Images Photo Quiz, Dec. 2021 Edition, Vol. 35mm
- Smoke Gets In Your Eyes: Classic Film Image Photo Quiz, Nov. 2021 Edition, Vol. 3000
- Pedalers: Classic Film Images Photo Quiz, Oct. 2021 Edition, Vol. 400.6
- They Had Lenses Then: Classic Film Images Photo Quiz, Sept. 2021 Edition, Vol. 35mm
- Exeunt, Joan: “Trog” (1970)
- They Shoot Bad Movies Don’t They?: Classic Film Images Photo Quiz, Aug. 2021 Edition, Vol. 35MM
- …On Gossamer Wings: Classic Film Images Photo Quiz, July 2021 Edition, Vol. 0G
- Swamp Thang: “‘Gator Bait” (1974)
- Blood and Sand: “The Longest Day” (1962)
- Memorium: Classic Film Images Photo Quiz, July 2021 Edition, Vol. 6
- Horse Sense: Classic Film Images Photo Quiz, May 2021 Edition, Vol. 6 Hands
- Without a Clue: “The Stone Killer” (1973)
- Strange Bedfellows: “Public Affairs” (1983)
- Isn’t Running a Sign You’re Up to No-Good?: Classic Film Images Photo Quiz, Apr. 2021 Edition, Vol. 26.2
- All Creatures Great and Small: Classic Film Images Photo Quiz, March 2021 Edition, Vol. 46XXL
- In the Realm of the Insensible: “Jade” (1995)
- Jungle Daze: “Trader Horn” (1973)
- Lurching: “The Addams Family” (2019)
- Noir!: Classic Film Images Photo Quiz, Feb. 2021 Edition, Vol. .38
- Thundering Cliff Notes: “Tombstone” (1993)
- Riding Off Into the Rising Sunset: “Red Sun” (1971)
- Lucky 2021: Classic Film Images Photo Quiz, Jan. 2021 Edition, Vol. 0-0
- Getting Crabs: “Attack of the Crab Monsters” (1957)
- Black and White in Color: “In the Heat of the Night” (1967)
- Castle Redux: “Two on a Guillotine” (1965)
- Heart of Darkness: “Justice League” (2017)
“They! They!”
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A review of Tim Burton's SF satire "MARS ATTACKS!" starring Jack Nicholson, Rod Steiger, Martin Short, Jim Brown and Lisa Marie.
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THE SEEKING OF WISDOM
FILMS DEMANDING REDISCOVERY:
Michelangelo Antonioni's neglected "Identificazione di una donna" relinquishes the metaphysical mire which had plagued the director for over a decade, and offered an introspective view of life, creation, sex and love. A film worthy of attention and serious reappraisal.
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Converting Populist Stooges Into Critical Thinkers In The Blink Of An Eye!
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MANDATORY CINEMA FOR THE CRITICAL MIND
The essential 1967 Russian film "Viy" was actually the first horror film produced in the Soviet regime.
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LEGAL THREATS & BOSSY MUMBO JUMBO
All material displayed is protected under copyright 2011 by Chandler Swain, Chandler Swain Reviews and parent companies therefore and whatnot. No material will be copied without the written permission of above parties unless the offender wishes to suffer a cruel fate worse than any experienced by a spouse of any reality program housewife, skank or pseudo-trash celebrity. Thou hast been warned. Just kidding.RECOMMENDED SOUNDTRACKS
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FEARLESS LEADER
THE CRITICAL ESTABLISHMENT : AN INTRODUCTION
What is it we seek from the Cinema? It all depends on your point of view.
For some, the movies are a source of seeking refuge from everyday existence, a release from daily tensions and anxieties. This is escapism and it has been the driving factor of the Populist attraction to the movies since the origin of the form. However, if one were to alter the view and regard film without merely the Populist limitations of escapist diversion but also as an Art Form, the perspective deepens and enters the realm of Critical Thought.
Though inconsistent in perspective, each side has validity, and is actually far more dependent on the existence of the other than would first seem possible. In a nutshell, it is a battleground between perceived verisimilitude against the aesthetic Ideal.
In formulating the foundations of The Critical Establishment,
it is necessary to understand the characteristics of each perspective, to note the seemingly contradictory similarities and disparities, and their often inextricable interconnections.THE CRITICAL ESTABLISHMENT : The Reviewer as Vox Populi
In examining both Populist thought and Critical Thinking in Film, it is useful to define the key players in the field: the reviewers and the critics. Though seemingly cut from the same cloth, there is a world of difference. Reviewers are the professional manifestation of the Populist front; reviewers have a primary focus on entertainment value while critics evaluate under an aesthetic criteria, reviewers reward immediate gratification whereas critics seek artistry.
With the burgeoning of internet filmspeak, there is a misconception that the old model of printed press criticism is being eroded by the emergence of an equal internet critical roster. This, however, is a fallacy. One thing is for certain, even with a cursory glance at popular internet movie sites: reviewers are plentiful and genuine criticism of merit is as scarce as water in the Mojave Desert.
The reviewer will generally spend the bulk of their time reprinting the plot synopsis of a film, often almost verbatim from the printed materials of the studio. While this assists handily in filling a column, it does little to illuminate the worth of a film. The reviewer will often spend an inordinate amount of time relaying such unessential data as background gossip, "best" lists and an alarming volume of space on film finances- usually relating to either the film's budget (as if the writer had a financial stake in the enterprise) or opening weekend receipts, neither of which has the slightest bearing on the film's aesthetic achievement.
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- Matinees at the Franklin Cinema
- Momento Mori
- Multiplex Movies
- NIGHTS AT THE ASPEN HILL CINEMA
- NIGHTS AT THE CINEMA 733
- Nights at the Coolidge Corner Theatre
- Nights at the KB Cinemas
- Nights at the Langley Theater
- Nights at the Laurel Drive-In
- Nights at the Orson Welles Cinema
- Nights at the PARK SQUARE CINEMA
- Nights at the Roth Theaters
- Nights at the Sack Cinemas
- Nights at the Silver Theater
- NIGHTS AT THE ST. GEORGE THEATER
- Nights at the State Theater
- NIGHTS AT THE UPTOWN THEATER, WASHINGTON D.C.
- NIGHTS AT THE WHEATON PLAZA PLAYHOUSE
- NITES AT THE SHOPPERS WORLD CINEMA
- POSTS AND RECENT THINKINGS
- Poverty Row
- Remembrance of Films Forgotten
- Retired Puzzles
- Sexual Politics in the Cinema
- SHORT FILMS: The Other Cinema
- The Concession Stand III: Guns of the Quick Nibble Reviews
- THE FILM VAULT: INDEX OF REVIEWED FILMS
- Views From The Screening Room
- WELCOME TO THE WONDERFUL WORLD OF CINEMA
- Notes From The Critical Establishment
- NOW PLAYING AT THE MERCADO CINEMA
- THE MERCADO LOUNGE: a rest stop for the Critical Mind
- The Hollywood Bookshelf
- CHANDLER SWAIN REVIEWS: NITES AT THE DRIVE-IN CINEMA
- The Concession Stand: Quick Nibble Reviews
- CHANDLER SWAIN REVIEWS: ART HOUSE CINEMA
- Chandler Swain Reviews: The Silents
- Sticky Floors, Stained Screens: Days & Nights at The Grindhouse
Category Archives: acting
Camera Obscura: “I Am a Camera” (1955)
“I Am a Camera” (1955) The first thing one notices in “I Am a Camera” is that the tone is completely wrong. In Christopher Isherwood’s Farewell to Berlin, the second of two novels comprising The Berlin Stories, the … Continue reading
Dear Cinema Santa: 2017 Edition
Dear Cinema Santa: 2017 Edition Light up boys and girls and all of the ships at sea, for once again we’ve arrived at that time of the year in which the bonds of a year filled … Continue reading
Flop Sweat as an Art Form: “The Ghost and Mr. Chicken” (1966)
“The Ghost and Mr. Chicken” (1966) If “The Ghost and Mr. Chicken” were to be completely dismissed as kid’s stuff, a late arrival of the venerable haunted house sub-genre which had already … Continue reading
Passion Play: “Matinee” (2009)
“MATINÉE” (2009) A man and a woman encounter each other on a mattress and engage in heated coital action until reaching mutual satisfaction. With the exception of an equality emphasized in … Continue reading
Bugged: “The Andromeda Strain” (1971)
“THE ANDROMEDA STRAIN” (1971) CONDITION RED: THE FOLLOWING TEXT CONTAINS SPOILERS STOP EXERCISE CAUTION BEFORE PROCEEDING FURTHER STOP The evolutionary characteristics that would come to define the post-atomic bomb SF genre emerged, not … Continue reading
Chandler’s Trailers: “Gunfight at the O.K. Corral” (1957)
John Sturges’ rousing “Gunfight at the O.K. Corral” could never be confused with an historical study aid; the film is structured as an illustrative compliment to the ballad form, here colorfully vocalized by Frankie Laine, and commensurate with the said form, the … Continue reading
Kitty Litter: “Confessions of a Psycho Cat” (1968)
“Confessions of a Psycho Cat” (1968) While the variety of adaptations of Richard Connell’s seminal short story The Most Dangerous Game is impressively eclectic- with the tale attracting cinematic interest from filmmakers on both ends … Continue reading
Littled Big Man: “Duke: We’re Glad We Knew You” edited by Herb Fagen
Littled Big Man: Duke: We’re Glad We Knew You edited by Herb Fagen If one attempts a brief summation of a message one is left with in Herb Fagen’s tributary book Duke: We’re Glad We Knew You, it’s that its subject- … Continue reading
Trigger Fingers: “1941” (1979)
Steven Spielberg’s “1941”is symptomatic of the curious phenomenon particular to youngish directors who have reached a certain level of respectability, only to then inflate their creative impulses to a scale which neither their experience nor their inspiration is … Continue reading
Disfunction as an Aphrodisiac: “As Good As It Gets” (1997)
In this James L. Brooks film which is far more relaxed in its sheer entertainment value than its problematic elements have a right to be, the modern updating of movie romantic comedy gets a dousing of Colorful Character … Continue reading
Happy Trails: “Bite the Bullet” (1975)
With the third of his western efforts, Richard Brooks’ “Bite the Bullet” demonstrates the value of an ambitious director operating without a particularly innovative visual sense but a finely honed sense of what’s important in a story (think … Continue reading
Petals and Thorns: “The Little Shop of Horrors” (1960)
________________________________________________________________ “The Little Shop of Horrors” is a more broadly freewheeling horror-comedy than Roger Corman’s savagely on target beat counterculture satire “A Bucket of Blood”, a film with a far more ambitious agenda as it was satirizing a then … Continue reading
What’s the Matter With Jack?: “The Odd Couple” (1968)
There’s a wonderful Jack Lemmon moment in Gene Saks’ film of Neil Simon’s stage play”The Odd Couple” in which the suicidal news writer Felix Ungar (played by Lemmon) sits dejectedly in a sleazy (though overly lit) exotic dancer bar, … Continue reading
Chandler’s Trailers: “Cat Ballou” (1965)
“Cat Ballou” is the story of a ballad, or more precisely, the back story of what gives substance to that ballad. (It is entertainingly performed, intermittently, by Nat King Cole and Stubby Kaye, though needlessly interrupting the progression … Continue reading
Chandler’s Trailers: “Istanbul” (1957)
Joseph Pevney’s “romantic” “adventure” starring a prematurely haggard Errol Flynn takes little time in revealing its immediate dramatic problems when an early cabaret scene featuring the dynamically engaging Nat King Cole is clearly going to be the highlight of … Continue reading
Chandler’s Trailers: “The Sessions” (2012)
“The Sessions” is a small, unassuming film which has all of the ingredients people used to go to the movies for: a compelling story filled with intelligent, appealing characters who are written with a real ear for how people … Continue reading
Gallows Humor: “The Bat” (1926)
“The Bat” is a rather creaky manor house murder mystery play by Mary Roberts Rinehart and Avery Hopwood, substantially derived from Rinehart’s 1908 novel The Circular Staircase with the embellishment of a costumed super-criminal, all of which has been … Continue reading
Through a Dark Glassily: “Puzzle of a Downfall Child” (1970)
Lou Andreas Sand, a high fashion model who over the course of her career descends into alcoholism, drug abuse and madness, is the subject of Jerry Schatzberg’s 1970 directorial debut “Puzzle of a Downfall Child” a film which … Continue reading
Duel in the Sun: “Khartoum” (1966)
Absorbing, if somewhat fictionalized, film depicting the war of wills between General Charles Gordon and al-Mahdi, preceding and during the siege of Khartoum. While encapsulating the politics of the Gladstone government, Robert Ardrey’s smart screenplay … Continue reading
Pot Luck: “Night of the Living Dead” (1968)
The immediate appeal of George Romero’s “Night of the Living Dead”, what makes it sizzle, is in the utilitarian crudeness of its technique in practicing practical filmmaking despite a poverty of resources rather than a dearth … Continue reading
Chandler’s Trailers: “Gilda Live” (1980)
Prominently emblazoned on the poster advertising “Gilda Live” is the curious assertion that “Things like this can only happen in the movies”, a rather bizarre statement for a film which is a shameful compendium of lukewarm leftover … Continue reading
Chandler’s Trailers: “Sweeney Todd: The Demon Barber of Fleet Street” (2007)
If Johnny Depp lacks the particular furnace-in-the-belly manic projection of a Len Cariou from the original Broadway production, he still projects an admirable ferocity (it helps that his rogue’s gallery of prior roles has given his an … Continue reading
Shake ‘n’ Quake: “Earthquake” (1974)
In “Earthquake”, the special effects boys at Universal get to flatten the city in which they work and play and must have gotten a chuckle out of the task, a sight more amusement than the audience gets from … Continue reading
A Trip to the Moon on Vampire Wings: “Dracula” (1979)
John Badham’s “Dracula” (significantly altered from the original title, “Dracula, a Love Story” in it’s initial test screenings) is the product of a lack of point-of-view when dealing with material that is overly familiar to the public, to … Continue reading
Through a Pint Glass, Darkly: Hellraisers: The Life and Inebriated Times of Richard Burton, Richard Harris, Peter O’Toole, and Oliver Reed by Robert Sellers
Hellraisers: The Life and Inebriated Times of Richard Burton, Richard Harris, Peter O’Toole, and Oliver Reed is a paean to talent squandered, lives ruined and endless acts of debauchery, violence and vandalism resulting in personal insult, broken marriages and … Continue reading
Maddux Redux: “Fiction Into Film” by Neil D. Isaacs, Rachel Maddux and Stirling Silliphant
The wealth of books crowding the shelves of today’s bookstores, in the cinema section, feature an abundance of promissory, abbreviated seminars in film making technique, conception, adaptation and success. When one considers just a few years ago there was … Continue reading
Fish in a Barrel: “Murder on the Orient Express” (1974)
For all of the current nostalgic postulating over the 1970’s being the last “Golden Age” of American Cinema (it certainly didn’t feel that way on a week by week basis, but the distasteful chaff is always separated from … Continue reading
Breaking Badly: “The Missouri Breaks” (1976)
A BRIEF NOTE: The recently posted You Can’t Go Homestead Again: Notes on Western Revisionism was actually the introductory portion of this very review, which was not only running a bit lengthy, but also threatened to dilute the attention away … Continue reading
In a Fog: “Steaming” (1985)
Just what do women talk about when men aren’t around? Within the context of the commercial cinema the so-called fairer sex has remained, inexplicably, something of a mystery, both in terms of an honest, unfettered exploration of … Continue reading
Adrift: “The Last Detail” (1973)
There are directors whose reputations are built primarily on the not always reliable renewal of interest from dedicatedly obsessive cinema enthusiasts both of the cultish and academic persuasion; the latter faction, of late, seeming to be less discriminate in … Continue reading
Death of a Thousand Cuts: “Les Miserables” (2012)
There are a thousand reasons to dislike Tom Hooper’s “Les Misérables”, not the least reason being the perfectly execrable vocal renditions of the familiar Claude-Michel Schönberg/Alain Boublil/Herbert Kretzmer score, stagnantly directed with a paralyzing laziness of directorial imagination which … Continue reading
The 2013 Annual Critical Establishment Readers Survey
________________________________________________________________ All readers, bloggers and film enthusiasts are encouraged to participate in the following 59 question survey. ________________________________________________________________________________ 01. Who/what do you feel is the most overrated actor, actress, director and film? 02. Who/what do you feel is the … Continue reading