Tag Archives: Film

Notes on “1917”

Fabrizio del Wrongo writes: There’s plenty to appreciate in director Sam Mendes’ “1917,” but it doesn’t amount to much as a movie. The one-shot scheme is good for showing soldiers making their way through trenches and over battlefields. Tracking shots … Continue reading

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Notes on “Contempt”

Fabrizio del Wrongo writes: “Contempt” probably doesn’t work. But is it intended to? Director Jean-Luc Godard is rare among filmmakers of the sound era in his ability to treat movies perfunctorily. He’s a doodler, a sketch artist; ideas flit across … Continue reading

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Notes on “Ford v Ferrari”

Fabrizio del Wrongo writes: “Ford v Ferrari” is nearly 200 minutes long, ludicrous for a car-racing flick, and its narrative incorporates a fair amount of padding. The scenes centering on the family of driver Ken Miles are particularly unnecessary. Watching … Continue reading

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Juxtaposin’: Distractions

Fabrizio del Wrongo writes:

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Notes on “Hail the Conquering Hero”

Fabrizio del Wrongo writes: A young man rejected by the Marines for chronic hay fever becomes a celebrity in his hometown when he’s taken for a hero of Guadalcanal. The fraud is perpetrated not by the hay fever sufferer, named … Continue reading

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Notes on “The Chant of Jimmie Blacksmith”

Fabrizio del Wrongo writes: Fred Schepisi’s unsettled and peculiarly wrenching “The Chant of Jimmie Blacksmith,” though it’s finally available on disc, isn’t discussed much among movie buffs. It’s too bleak and too at odds with contemporary values for broad acceptance. … Continue reading

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Notes on “The Red Violin”

Fabrizio del Wrongo writes: Like writer-director Fran├žois Girard’s other well-known picture, “Thirty Two Short Films About Glenn Gould,” “The Red Violin” is a series of short subjects. Here, though, Girard attempts to link these subjects into a mystical narrative based … Continue reading

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