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  • Three Ages

    Three Ages

    ★★★

    Buster Keaton's first feature directorial credit, riffing on the 'love through the ages' framework of D.W. Griffith's Intolerance. Not top-drawer Keaton, certainly - there ain't much formal invention, let alone surrealism - but Our Hero still shares enough moments of genius: leaping into a waiter's arms; imagining horses as spark plugs; handing a football to one of his teammates to avoid being tackled, whereupon the teammate gets tackled and a stretcher immediately hauls the lifeless body off the field. Plus…

  • The Blob

    The Blob

    ★★★★½

    Y'know, I just can't think of anything else I'd want from a movie called The Blob. Nudity, I suppose.

    Actually better than The Fly. (To say nothing of the original Blob, which peaks in its opening credits.)

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  • First Cow

    First Cow

    ★★★★

    More than any other Kelly Reichardt(/Jonathan Raymond/Chris Blauvelt) film, I think it's the visuals that really put this over the top. Haunting, masterful, fucking painterly compositions, God yes, it's like oxygen for the eyes, it's like wet grass dusted with ash, it's like Winslow Homer meeting Edward Hopper in the 1880s Pacific Northwest. I mean, just that casual early cut back to the past, from present-day skeletons in the ground to a gentle boot on damp blue-green earth, with bright…

  • Monterey Pop

    Monterey Pop

    ★★★★★

    Still the champ; the greatest of all concert films. Woodstock is a more innovative piece of filmmaking and a richer historical document, what with its radical editing flourishes and all its time spent with the (counter)culture around the music...but the lineup itself was a mixed bag, decadent and often wanky even from performers who carried over from Monterey. (Musically, the Janis Joplin and Jefferson Airplane performances here almost render the ones in Woodstock perfunctory.)

    The Last Waltz? Terrific; a loving…