When Movies Mattered: Reviews from a Transformative Decade

But in the movies-and surely this is part of Godard's point-to change forms is to address audiences.

Ruiz's images shake our security.

It's never easy to pinpoint the exact moment when Fuller's imagery rises from the ridiculous to the sublime.

making the chaos of the world work for you; it means dropping a fixed, static identity-which is always your most vulnerable point-and finding the freedom to adopt a series of superficial, provisional ones, all of which become incorporated into an ever-growing you.

Jouissance

there is something in the quality of Ruiz's imagination that summons up those primal Hollywood pleasures, something that connects to our first film-going experiences, when we weren't old enough to follow the plots and still too young to care. Lucas and Spielberg pursue these same memories in their films, but they're too literal minded, too committe

Cassavetes's commitment to his two principal characters is complete: his camera never once abandons them-never goes behind their backs to offer an editorial judgment-and we must experience the events of the film as they experience them, as integral blocks of time.

Jonah

By choosing melodrama over realism, Chabrol is able to make use of the genre's outrageous coincidences, extreme emotions, and sudden psychological reversals, giving his film the texture of a distorted, subjective experience-the