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The Village Voice Film Guide: 50 Years of Movies from Classics to Cult Hits

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The Village Voice Film Guide: 50 Years of Movies from Classics to Cult Hits Cover

 

Synopses & Reviews

Publisher Comments:

An all-new guide to 50 years of groundbreaking films from america's most influential alternative newspaper

For the last 50 years, the Village Voice has set the benchmark for passionate, critical, and unique film coverage for a savvy and sophisticated audience. Some of America's most respected film critics and culture writers have championed movies in the pages of the Voice that were often dismissed or ignored by the mainstream media. Now, the Voice has selected 150 of the greatest films that its influential critics have celebrated—and it has compiled their landmark reviews in this one-of-a-kind book??.

Contributors such as J. Hoberman, Andrew Sarris, Jonas Mekas, Georgia Brown, Michael Atkinson, Amy Taubin, Tom Allen, and Oliver Stone will delight and provoke film buffs with their sharp insights and original points of view. Featured filmmakers include acknowledged masters such as Alfred Hitchcock, Orson Welles, Jean-Luc Godard, and David Cronenberg as well as the most exciting new names in world cinema from China, Belgium, and Thailand. Featuring smart and compelling reviews for films from the surrealist shocker L'Age d'Or (1930) to the voyeuristic classic Rear Window (1954) to the fascinating drama The Devil, Probably (1977) to the erotic thriller Mulholland Drive (2001), this authoritative reference is your best guide to some of the most important and adventurous movies ever made.

The Village Voice was founded by Dan Wolf, Ed Fancher, and Norman Mailer in 1955. From its beginning, the Voice has pioneered the high-spirited advocacy journalism that has become the hallmark of the alternative press. As America's first and largest alternative newsweekly, the Voice has maintained a tradition of uncompromising reporting and criticism for the past five decades.

Synopsis:

For decades the "Village Voice" set the benchmark for passionate, critical, and unique film coverage. Including reviews by some of America’ s most respected critics, "The Village Voice Film Guide" compiles spirited landmark reviews of the "Voice"’ s selection of the 150 greatest films ever made. Collecting some of the best writing on film ever put on paper, this is a perfect book for film buffs.

Synopsis:

For decades the Village Voice set the benchmark for passionate, critical, and unique film coverage. Including reviews by some of America’s most respected critics, The Village Voice Film Guide compiles spirited landmark reviews of the Voice’s selection of the 150 greatest films ever made. Collecting some of the best writing on film ever put on paper, this is a perfect book for film buffs.

Synopsis:

For more than 50 years, New York City's Village Voice has offered passionate, well-written, high-spirited film coverage, often celebrating offbeat movies that were ignored or dismissed in the mainstream media. Now the Voice has selected the greatest films that its influential critics have championed over the years and collected these landmark reviews in a book that stands as a singular history of film culture and film criticism. Ranging from silent-era standouts like Pandora's Box, Hollywood favorites like The Searchers, and international masterworks like Weekend to cult movies like Pink Flamingos, modern classics like Taxi Driver, and contemporary indie cinema like Donnie Darko, this guide will be an indispensable reference for dedicated film lovers everywhere.

About the Author

Dennis Lim is a film critic and the film editor at the Village Voice.

Table of Contents

Acknowledgments.

Introduction by Dennis Lim.

A History of Film Criticism at the Village Voice by J. Hoberman.

L'Age d'Or (Luis Bu??uel, 1930) Reviews by J. Hoberman and Michael Atkinson.

The Age of Innocence (Martin Scorsese, 1993) Reviews by Georgia Brown and Amy Taubin.

Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974) Review by Jan-Christopher Horak.

Andrei Rublev (Andrei Tarkovsky, 1969) Review by J. Hoberman.

Aparajito (1957). See The Apu Trilogy.

The Apu Trilogy (Satyajit Ray): Pather Panchali (1955), Aparajito (1957), The World of Apu (1959) Review by Jonas Mekas.

L'Argent (Robert Bresson, 1983) Review by Andrew Sarris.

L'Atalante (Jean Vigo, 1934) Review by Georgia Brown.

Au Hasard Balthazar (Robert Bresson, 1966) Reviews by Andrew Sarris, Jonas Mekas, and J. Hoberman.

L'Avventura (Michelangelo Antonioni, 1960) Review by Andrew Sarris.

Bad Lieutenant (Abel Ferrara, 1992) Review by J. Hoberman.

Barry Lyndon (Stanley Kubrick, 1975) Review by J. Hoberman.

The Battle of Algiers (Gillo Pontecorvo, 1965) Reviews by Margot Hentoff, Andrew Sarris, and Michael Atkinson.

Beau Travail (Claire Denis, 1999) Review by J. Hoberman.

Before Sunset (Richard Linklater, 2004) Review by J. Hoberman.

Belle de Jour (Luis Bu??uel, 1967) Review by Andrew Sarris.

The Bicycle Thief (Vittorio De Sica, 1948) Review by J. Hoberman.

The Birds (Alfred Hitchcock, 1963) Reviews by Andrew Sarris and Michael Atkinson.

Blow-Up (Michelangelo Antonioni, 1966) Review by Andrew Sarris.

Blue Velvet (David Lynch, 1986) Reviews by J. Hoberman and Guy Maddin.

Breathless (Jean-Luc Godard, 1960) Review by Oliver Stone.

Caf?? Lumi??re (Hou Hsiao-hsien, 2003) Review by J. Hoberman.

Ceddo (Ousmane Sembene, 1977) Review by Tom Allen.

C??line and Julie Go Boating (Jacques Rivette, 1974) Review by J. Hoberman.

The Chelsea Girls (Andy Warhol, 1966) Reviews by Jonas Mekas and Andrew Sarris.

Chinatown (Roman Polanski, 1974) Reviews by Andrew Sarris and Jessica Winter.

Chungking Express (Wong Kar-wai, 1994) Review by Georgia Brown.

Citizen Kane (Orson Welles, 1941) Review by Andrew Sarris.

Close-Up (Abbas Kiarostami, 1990) Review by Michael Atkinson.

The Color of Pomegranates (Sergei Paradjanov, 1968) Review by J. Hoberman.

The Conformist (Bernardo Bertolucci, 1970) Review by Michael Atkinson.

Contempt (Jean-Luc Godard, 1963) Reviews by Andrew Sarris and J. Hoberman.

Cutter and Bone/Cutter's Way (Ivan Passer, 1981) Review by J. Hoberman.

Days of Being Wild (Wong Kar-wai, 1990) Review by J. Hoberman.

Dead Man (Jim Jarmusch, 1995) Review by J. Hoberman.

Dead Ringers (David Cronenberg, 1988) Reviews by Amy Taubin and Michael Atkinson.

The Decalogue (Krzysztof Kieslowski, 1989) Review by Georgia Brown.

The Devil, Probably (Robert Bresson, 1977) Review by J. Hoberman.

Distant Voices, Still Lives (Terence Davies, 1988) Review by Georgia Brown.

Do the Right Thing (Spike Lee, 1989) Review by J. Hoberman.

Dogville (Lars von Trier, 2003) Review by J. Hoberman.

Donnie Darko (Richard Kelly, 2001) Review by J. Hoberman.

Earth (Aleksandr Dovzhenko, 1930) Review by J. Hoberman.

Eraserhead (David Lynch, 1977) Review by J. Hoberman.

The Evil Dead (Sam Raimi, 1981) Review by Elliott Stein.

F for Fake (Orson Welles, 1974) Reviews by Jessica Winter and Michael Atkinson.

Faces (John Cassavetes, 1968) Reviews by Jonas Mekas and Andrew Sarris.

Fight Club (David Fincher, 1999) Review by J. Hoberman.

Flaming Creatures (Jack Smith, 1963) Review by J. Hoberman.

The Flower Thief (Ron Rice, 1960) Review by Jonas Mekas

Flowing (Mikio Naruse, 1956); Late Chrysanthemums (Mikio Naruse, 1954) Review by J. Hoberman.

Gertrud (Carl Theodor Dreyer, 1964) Review by Andrew Sarris.

Glen or Glenda? (Edward D. Wood, 1953) Review by J. Hoberman.

Gun Crazy (Joseph H. Lewis, 1949) Review by J. Hoberman.

Halloween (John Carpenter, 1978) Review by Tom Allen.

The Heart of the World (Guy Maddin, 2000) Review by J. Hoberman.

A History of Violence (David Cronenberg, 2005) Review by J. Hoberman.

Horse Thief (Tian Zhuangzhuang, 1986) Review by J. Hoberman.

The House Is Black (Forugh Farrokhzad, 1963) Review by Michael Atkinson.

I a?Y Huckabees (David O. Russell, 2004) Review by Dennis Lim.

I Was Born, But . . . (Yasujiro Ozu, 1932) Review by Jonas Mekas.

I'm Going Home (Manoel de Oliveira, 2001) Review by J. Hoberman.

In a Year of 13 Moons (Rainer Werner Fassbinder, 1978) Review by Andrew Sarris.

In the Mood for Love (Wong Kar-wai, 2000) Review by J. Hoberman.

Irma Vep (Oliver Assayas, 1996) Review by J. Hoberman.

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1976) Reviews by J. Hoberman and Andrew Sarris.

JLG/JLG (Jean-Luc Godard, 1995) Review by Georgia Brown.

Johnny Guitar (Nicholas Ray, 1954) Review by J. Hoberman.

The King of Comedy (Martin Scorsese, 1983) Reviews by Andrew Sarris and J. Hoberman.

Kiss Me Deadly (Robert Aldrich, 1955) Review by J. Hoberman.

Landscape in the Mist (Theo Angelopoulos, 1988) Reviews by Georgia Brown and Michael Atkinson.

Late Chrysanthemums (Mikio Naruse, 1954) See Flowing Love Streams (John Cassavetes, 1984) Review by Dennis Lim.

The Lovers on the Bridge (Leos Carax, 1991) Review by J. Hoberman.

M (Fritz Lang, 1931) Review by J. Hoberman.

The Magnificent Ambersons (Orson Welles, 1942) Review by J. Hoberman.

The Man with a Movie Camera (Dziga Vertov, 1929) Review by J. Hoberman.

Man's Favorite Sport? (Howard Hawks, 1964) Review by Molly Haskell.

Marketa Lazarov?! (Frantisek Vl?!cil, 1967) Review by Michael Atkinson.

McCabe & Mrs. Miller (Robert Altman, 1971) Review by Andrew Sarris.

The Merchant of Four Seasons (Rainer Werner Fassbinder, 1972) Review by Andrew Sarris.

Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943) Review by J. Hoberman.

The Mother and the Whore (Jean Eustache, 1973) Review by Molly Haskell.

Mulholland Drive (David Lynch, 2001) Review by J. Hoberman.

Naked (Mike Leigh, 1993) Review by Georgia Brown.

Night and Fog in Japan (Nagisa Oshima, 1960) Review by J. Hoberman.

Night of the Living Dead (George A. Romero, 1968) Reviews by Richard McGuinness and J. Hoberman.

Los Olvidados (Luis Bu??uel, 1950) Review by J. Hoberman.

Once Upon a Time in the West (Sergio Leone, 1968) Review by Andrew Sarris.

Out of the Past (Jacques Tourneur, 1947) Review by Kent Jones.

Pather Panchali (Satyajit Ray, 1955). See The Apu Trilogy.

Peking Opera Blues (Tsui Hark, 1986) Review by J. Hoberman.

Persona (Ingmar Bergman, 1966) Review by Andrew Sarris.

Pickpocket (Robert Bresson, 1959) Reviews by Andrew Sarris and J. Hoberman.

Pierrot le Fou (Jean-Luc Godard, 1965) Review by Andrew Sarris.

Pink Flamingos (John Waters, 1972) Review by Jack Smith.

Platform (Jia Zhangke, 2000) Review by J. Hoberman.

Playtime (Jacques Tati, 1967) Review by T. A. Gallagher.

The Portrait of a Lady (Jane Campion, 1996) Review by Amy Taubin.

The Power of Kangwon Province (Hong Sang-soo, 1998) Review by Chuck Stephens.

Primer (Shane Carruth, 2004) Review by Dennis Lim.

Psycho (Alfred Hitchcock, 1960) Review by Andrew Sarri.

Pulp Fiction (Quentin Tarantino, 1994) Review by J. Hoberman.

Punishment Park (Peter Watkins, 1971) Reviews by Jonathan Rosenbaum and Michael Atkinson.

The Puppetmaster (Hou Hsiao-hsien, 1993) Review by J. Hoberman.

Real Life (Albert Brooks, 1979) Review by J. Hoberman.

Rear Window (Alfred Hitchcock, 1954) Review by Andrew Sarris.

Reds (Warren Beatty, 1981) Review by Andrew Sarris.

Reminiscences of a Journey to Lithuania (Jonas Mekas, 1972) Review by Jonathan Rosenbaum.

Rose Hobart (Joseph Cornell, 1936) Review by J. Hoberman.

Rosetta (Luc and Jean-Pierre Dardenne, 1999) Review by J. Hoberman.

The Rules of the Game (Jean Renoir, 1939) Review by Jonas Mekas.

Safe (Todd Haynes, 1995) Review by Georgia Brown.

Salesman (Albert Maysles, 1969) Review by Jonas Mekas.

Sans Soleil (Chris Marker, 1983) Review by J. Hoberman.

Sansho the Bailiff (Kenji Mizoguchi, 1954) Review by Michael McKegney.

S?!t?!ntang?? (B??la Tarr, 1994) Review by J. Hoberman.

Scenes from under Childhood (Stan Brakhage, 1970) Review by Jonas Mekas.

The Searchers (John Ford, 1956) Review by Georgia Brown.

Shadows (John Cassavetes, 1958/1959) Reviews by Jonas Mekas and J. Hoberman.

Shoah (Claude Lanzmann, 1985) Review by J. Hoberman.

Shock Corridor (Samuel Fuller, 1963) Reviews by Andrew Sarris and J. Hoberman.

Star Spangled to Death (Ken Jacobs, 1957a??2004) Review by J. Hoberman.

Sunrise (F. W. Murnau, 1927) Reviews by Andrew Sarris and J. Hoberman.

Superstar: The Karen Carpenter Story (Todd Haynes, 1987) Review by J. Hoberman.

Symbiopsychotaxiplasm: Take One (William Greaves, 1968) Review by Michael Atkinson.

Taxi Driver (Martin Scorsese, 1976) Reviews by Andrew Sarris and Michael Atkinson.

That Obscure Object of Desire (Luis Bu??uel, 1977) Review by J. Hoberman.

There's Something about Mary (Peter Farrelly and Bobby Farrelly, 1998) Review by J. Hoberman.

The Thin Blue Line (Errol Morris, 1988) Review by J. Hoberman.

The Thin Red Line (Terrence Malick, 1998) Review by J. Hoberman.

El Topo (Alejandro Jodorowsky, 1970) Review by Glenn O'Brien.

Tribulation 99: Alien Anomalies under America (Craig Baldwin, 1992) Review by J. Hoberman.

Tropical Malady (Apichatpong Weerasethakul, 2004) Review by Dennis Lim.

Trouble in Paradise (Ernst Lubitsch, 1932) Review by J. Hoberman.

Two or Three Things I Know about Her (Jean-Luc Godard, 1967) Review by T. A. Gallagher.

2001: A Space Odyssey (Stanley Kubrick, 1968) Reviews by Andrew Sarris.

Unforgiven (Clint Eastwood, 1992) Review by Amy Taubin.

Les Vampires (Louis Feuillade, 1915) Review by J. Hoberman.

Vengeance Is Mine (Shohei Imamura, 1979) Review by Tom Allen.

Vertigo (Alfred Hitchcock, 1958) Reviews by Molly Haskell and J. Hoberman.

Videodrome (David Cronenberg, 1983) Review by J. Hoberman.

Wanda (Barbara Loden, 1971) Review by Andrew Sarris.

Weekend (Jean-Luc Godard, 1967) Review by Andrew Sarris.

White Dog (Samuel Fuller, 1982) Review by J. Hoberman.

The Wind Will Carry Us (Abbas Kiarostami, 1999) Review by J. Hoberman.

Winter Soldier (Winterfilm Collective, 1972) Reviews by Jonathan Rosenbaum and Michael Atkinson.

The World of Apu (Satyajit Ray, 1959) See The Apu Trilogy.

Written on the Wind (Douglas Sirk, 1956) Review by J. Hoberman.

Yeelen (Souleymane Ciss??, 1987) Review by Elliott Stein.

Zero for Conduct (Jean Vigo, 1933) Review by Jonas Mekas.

Photo Credits.

Index of Directors and Actors.

Product Details

ISBN:
9780471787815
Author:
Lim, Dennis
Publisher:
Wiley (TP)
Author:
Voice, Village
Subject:
Motion pictures
Subject:
Film & Video - Guides & Reviews
Subject:
Film - General
Subject:
Reference - General
Subject:
Film and Television-Film Guides
Copyright:
Edition Description:
Trade Paper
Publication Date:
20070305
Binding:
TRADE PAPER
Grade Level:
General/trade
Language:
English
Illustrations:
Y
Pages:
336
Dimensions:
9.24 x 6.16 x 0.85 in

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The Village Voice Film Guide: 50 Years of Movies from Classics to Cult Hits New Trade Paper
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Product details 336 pages Wiley - English 9780471787815 Reviews:
"Synopsis" by , For decades the "Village Voice" set the benchmark for passionate, critical, and unique film coverage. Including reviews by some of America’ s most respected critics, "The Village Voice Film Guide" compiles spirited landmark reviews of the "Voice"’ s selection of the 150 greatest films ever made. Collecting some of the best writing on film ever put on paper, this is a perfect book for film buffs.
"Synopsis" by , For decades the Village Voice set the benchmark for passionate, critical, and unique film coverage. Including reviews by some of America’s most respected critics, The Village Voice Film Guide compiles spirited landmark reviews of the Voice’s selection of the 150 greatest films ever made. Collecting some of the best writing on film ever put on paper, this is a perfect book for film buffs.
"Synopsis" by , For more than 50 years, New York City's Village Voice has offered passionate, well-written, high-spirited film coverage, often celebrating offbeat movies that were ignored or dismissed in the mainstream media. Now the Voice has selected the greatest films that its influential critics have championed over the years and collected these landmark reviews in a book that stands as a singular history of film culture and film criticism. Ranging from silent-era standouts like Pandora's Box, Hollywood favorites like The Searchers, and international masterworks like Weekend to cult movies like Pink Flamingos, modern classics like Taxi Driver, and contemporary indie cinema like Donnie Darko, this guide will be an indispensable reference for dedicated film lovers everywhere.
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