b rad

Editor at www.fourthreefilm.com

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  • Cartesio

    Cartesio

    ★★★★½

    The best of the single-protagonist history films - not only is Descartes the most fleshed out of Rossellini’s parade of thinkers but the development of his intellectual pursuits and arguments are given a lot more time to organically develop and express themselves, and as a result be digested and considered by the viewer. Meanwhile, Rossellini’s blocking and camera movements reach the apogee of their sophistication, moving our frame from one classic painterly composition to another without even the crutch of…

  • Bachelor Mother

    Bachelor Mother

    ★★½

    I’m being harsh and Rogers and Niven are two really able comedic performers who get to shine here, but this is really lightweight material and despite the premise really low on gags.

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  • Mommie Dearest

    Mommie Dearest

    ★★★★½

    Dunaway showcases a new kinda of acting altogether, a hybrid mixture of camp impersonation and full on demonic possession. Without it, the film ceases to exist. Slimy nostalgia tabloid told with outrageous bombast in an epic tale of what is essentially vignettes, a series of scenes so confusingly put together that any given cut could be anywhere between a split-second reaction shot to a "several years later" interval. Few films depend so much on their central performance, and it's one of the greatest I've ever seen.

  • Theorem

    Theorem

    ★★★★★

    The first film I've logged twice on Letterboxd, and one of my very favourite movies of all time. One of the highlights of that rich, rich period of cinema, of the heyday of European arthouse, which unlike so many of those comes not out of navel-gazing but of intense engagement with the political and cultural spirit of the times, in dialogue with Marxism, existentialism and some profane manifestation of the divine. It's a mysterious and beautiful film, and so thematically…