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Home Time Capsule Cinema

Time Capsule Cinema

Negatives – A Look Back

By Walt Mundkowsky
in :  Time Capsule Cinema
Negatives movie poster

Faithful to Peter Everett’s novel, Negatives (Continental) is curiously depressing. (Fifty-one years later, I would regard that as high praise!) The promising central idea clicks only in spots, i.e., when Glenda Jackson commands the moment. It remains a superficial piece of work and yet, and yet.

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The Addiction — A Look Back

By Walt Mundkowsky
in :  Time Capsule Cinema
a scene from the movie 'The Addiction'

The Addiction (1995) is the most stringent product of director Abel Ferrara’s current manner — a highly original morality play about guilt and redemption.

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Red Sun — A Look Back

By Walt Mundkowsky
in :  Time Capsule Cinema
Charles Bronson, Ursula Andress, Toshirô Mifune and Alain Delon in Red Sun

Terence Young is a moderately skillful Englishman who keeps laboring away at the action thriller, always with less than satisfying results. His three Bond pictures (Doctor No, From Russia with Love, Thunderball) had barely an atom of personality, and it would be charitable to describe The Poppy Is Also a Flower and Triple Cross as mediocre.

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Ghost in the Shell (GitS) 1995 – A Look Back at the Classic Film

By Walt Mundkowsky
in :  Time Capsule Cinema
Ghost in the Shell scene

Mamoru Oshii's feature-length Ghost in the Shell beckons for relevance: Original title was Kôkaku Kidôtai (Man-Machine Interface) — my own computer battleground in the past two weeks!

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Richard Stanley’s “Hardware” – A Look Back at the Classic Film

By Walt Mundkowsky
in :  Time Capsule Cinema
post-nuke landscape scene from the movie 'Hardware'

For the young filmmaker with a music-video past and large aspirations, sci-fi horror can represent fertile ground. Narrative logic makes minimal demands, while extravagant style and pop nihilism are granted a prominence the mainstream denies. Richard Stanley’s ferociously effective Hardware (1990) was shot almost entirely on a single set for a meager $1.5 million; under its required elements, it fairly bursts with attitude.

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Melville’s Le samouraï – A Look Back at the Classic French Noir

By Walt Mundkowsky
in :  Time Capsule Cinema
Alain Delon in a scene from Le Samourai

French filmmaker Jean-Pierre Melville (1917-73) is hard to pigeonhole. He operated outside established channels (eventually running his own studio) yet he employed movie stars. An inspiration to the New Wavers who liberated French cinema, he remained a consciously classical technician. Abroad he’s best remembered for a trilogy of gangster dramas — Le doulos (1962), Le deuxième souffle (1966) and Le samouraï (1967).

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François Truffaut’s “Stolen Kisses” – A Look Back

By Walt Mundkowsky
in :  Time Capsule Cinema
Stolen KIsses movie poster

In The 400 Blows Truffaut introduced Antoine, a 12-year-old at odds with the world in which he found himself. Antoine lost his girlfriend to an older and more masterful rival in the opening segment of Love at Twenty. Now, after two failures (not only of execution), Truffaut has returned to that character, but Stolen Kisses does not mark a reprise of his most confident style.

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Polanski’s “Cul-de-Sac”

By Walt Mundkowsky
in :  Time Capsule Cinema
Cul de Sac movie poster

By this viewer’s idiosyncratic standards, Cul-de-Sac (1966) is Roman Polanski’s sole brush with greatness, and the only feature to keep faith with the surrealist metaphors and perceptions of his celebrated short films. It’s his most bizarrely funny, as well as his most serious work.

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Johnny Got His Gun – A Look Back

By Walt Mundkowsky
in :  Time Capsule Cinema
Johnny Got His Gun poster

The praise that has rained on Dalton Trumbo’s Johnny Got His Gun has a desperate ring, citing it with All Quiet on the Western Front and La Grande Illusion in the roll call of antiwar classics. Trumbo, of course, was one of the Hollywood Ten, refusing to cooperate with the House Un-American Activities Committee in 1947 and eventually imprisoned for 10 months for contempt of Congress.

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Sunday Bloody Sunday – A Look Back

By Walt Mundkowsky
in :  Time Capsule Cinema
Sunday Bloody Sunday poster

Sunday Bloody Sunday has been praised to a pulp, and that is understandable; it looks so ostentatiously intelligent and restrained. It has no plot, but a set of circumstances: a bisexual triangle in which Bob, a young London artist, is having simultaneous affairs with Daniel, a middle-aged homosexual doctor, and Alex, a divorcee in her thirties who works as an employment counselor.

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