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Jean-Luc Godard

Tomatometer-approved critic
Biography:

Photo by AFP/Getty Images.

Reviews

Movies 온라인카지노추천 Shows
O saisons, ô châteaux (1958) “It is as good as anything you are likely to see in the genre of fashionable splendour, or vice versa... If one is going to praise Agnès Varda to the skies, it should be for O saisons, ô châteaux.” – Cahiers du Cinéma Jun 8, 2022 Full Review Time Bomb (1959) “[Time Bomb] achieves the considerable feat of being insipid and grotesque. Should one abuse the film? Hold it in contempt? Commiserate with its maker? Truth to tell, I hardly know where to start in saying what is wrong.” – Arts (France) Jun 7, 2022 Full Review Gangster Boss (1960) “The deadliest film of the year.” – Arts (France) Jun 7, 2022 Full Review Un drôle de dimanche (1958) “[The film] is of no interest whatsoever. The script is lamentable, so are the actors. When the roast is bad, you cover up with the sauce, but you can’t save much of a Serge de Boissac script with Bourvil, nor Jean Marsan dialogue with Cathia Caro.” – Arts (France) Jun 7, 2022 Full Review Goha (1958) “Baratier’s mistake has been to present us not with Goha, but a documentary about Goha. Luckily for him and for us, it’s an engaging mistake.” – Cahiers du Cinéma Jun 7, 2022 Full Review A Simple Story (1959) “You may not like Une Simple Histoire, and you may be right. But if you don’t go to see it, you will certainly be making a mistake.” – Cahiers du Cinéma Jun 7, 2022 Full Review Orpheus (1950) 97% “A magical film where each image, like the lark in the mirror, reflects only itself, that is to say, us. ” – Cahiers du Cinéma Apr 6, 2022 Full Review Artists and Models (1955) 85% “No film could be more devastating, more bitter in its humor, more brackish, with the richness of the invention constantly aggravated by the poverty of the situations.” – Cahiers du Cinéma Apr 6, 2022 Full Review The Lieutenant Wore Skirts (1956) 80% “[Director Frank Tashlin] is an original, a diamond cut diamond who indulges the luxury of overtaking that sucker [Billy] Wilder just as Fangio overtakes Porfirio Rubirosa. ” – Cahiers du Cinéma Apr 6, 2022 Full Review The Wrong Man (1956) 93% “With each shot, each transition, each composition, Hitchcock does the only thing possible for the rather paradoxical but compelling reason that he could do anything he liked. "Che sera, sera," because What Will Be Has Been. ” – Cahiers du Cinéma Apr 4, 2022 Full Review Tarawa Beachhead (1958) “A little film which is singularly pleasing to the eye because the action sequences are sharply handled, and which also pleases the mind because the dialogue scenes are lodged under the same sign. ” – Cahiers du Cinéma Apr 4, 2022 Full Review The Long, Hot Summer (1958) 86% “To be nice, let's just say simply that Ritt is perhaps not a common hack but an honest gaffer (even then, there are better).” – Cahiers du Cinéma Nov 3, 2021 Full Review The True Story of Jesse James (1957) 88% “That something has gone wrong from the point of view of the production is hardly in doubt; but not the direction, in which each shot carries the indelible mark of the most peculiarly modern of film-makers.” – Cahiers du Cinéma Nov 3, 2021 Full Review Hollywood or Bust (1956) 80% “Tashlin indulges a riot of poetic fancies where charm and comic invention alternate in a constant felicity of expression. The plot is thin, certainly, but the merit is all the greater.” – Cahiers du Cinéma Sep 16, 2021 Full Review The Killing (1956) 96% “Once one has commended the newsreel-style camerawork and Sterling Hayden, there is little left to do but wait, not too impatiently, for Kubrick's next feature, Paths of Glory.” – Cahiers du Cinéma Sep 16, 2021 Full Review The Quiet American (1958) 50% “Mankiewicz probably got so much enjoyment from the writing that there was little enough left for filming it. Though a matter for regret, The Quiet American is still the most interesting film about at the moment.” – Arts (France) Sep 16, 2021 Full Review Head Against the Wall (1959) 100% “[Franju] seeks the madness behind reality because it is for him the only way to rediscover the true face of reality behind this madness.” – Arts (France) Sep 16, 2021 Full Review La Ronde (1950) 94% “Simone Signoret [walks] the streets as though born to it, and it is no fault of hers that she meets two of the worst actors in the French cinema there.” – La Gazette du Cinéma Sep 16, 2021 Full Review The Wrestler and the Clown (1957) “One doesn't have to be stupid to dislike Barnet's film, but one does have to have a heart of stone.” – Cahiers du Cinéma Sep 16, 2021 Full Review India: Matri Bhumi (1959) “India is a film of absolute logic, more Socratic than Socrates. Each image is beautiful, not because it is beautiful in itself, like a shot from Que Viva Mexico!, but because it has the splendour of the true, and Rossellini starts from truth.” – Cahiers du Cinéma Sep 3, 2021 Full Review End of Desire (1962) “Une Vie is a wonderfully simple film.” – Cahiers du Cinéma Sep 2, 2021 Full Review Modigliani of Montparnasse (1958) “Everything pleases in this displeasing film. Everything rings true in this totally false film. Everything is illuminated in this obscure film. For he who leaps into the void owes no explanation to those who watch.” – Cahiers du Cinéma Sep 2, 2021 Full Review The Perfect Furlough (1959) 100% “A very small film, in other words, but it leaves one with one's confidence in Blake Edwards intact.” – Cahiers du Cinéma Sep 2, 2021 Full Review Panic in the Streets (1950) 97% “An intelligent renewal of the thriller form, in which the plot unfolds hand in hand with the spreading of a plague.” – La Gazette du Cinéma Sep 2, 2021 Full Review Moi, un Noir (1958) “Moi, un Noir is, in effect, both the most daring of films and the humblest.” – Arts (France) Sep 2, 2021 Full Review
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