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Vernon Young

Tomatometer-approved critic

Reviews

Movies 온라인카지노추천 Shows
The Swindle (1955) 100% “Although on a single viewing I would not rate the film equal to La Strada in human and evocative appeal, it does show Fellini at his cinematic best.” – The Hudson Review Jan 30, 2024 Full Review The Gold of Naples (1954) 71% “A dazzling example of De Sica’s versatility and of his mastery of the tragicomic vein.” – The Hudson Review Jan 30, 2024 Full Review Raíces (1953) “Not since Sergei Eisenstein’s ill-fated incomplete epic has the monumental, bristling landscape of Mexico been photographed with such impact.” – The Hudson Review Jan 30, 2024 Full Review The Bandit (1953) “[The premise] gives no hint of the visual excitement of the movie, of the raffish style of the actors (Milton Ribeiro’s Galdino is unimaginable!), or of the pulsating Brazilian folk tunes which animate the score.” – The Hudson Review Jan 30, 2024 Full Review Sawdust and Tinsel (1953) 91% “The greatest European film to be shown here in the past year -- always excepting La Strada -- is The Naked Night, directed by the virtually unknown Ingmar Bergman.” – The Hudson Review Jan 30, 2024 Full Review Devil's General (1955) “This one is enlarged beyond its scenario by its trenchant depiction of a man realizing too late that he has bartered his soul for an unspeakable political shibboleth.” – The Hudson Review Jan 30, 2024 Full Review The Last Ten Days of Adolf Hitler (1956) “[Director G. W. Pabst's] head continually interferes with his artistic sense. Again and again the film falls short of the concentrated horror it climbs to; but the performance of Oskar Werner makes it entirely worth seeing.” – The Hudson Review Jan 30, 2024 Full Review We Are All Murderers (1957) “The film breaks down under a surfeit of exhortations and climaxes.” – The Hudson Review Jan 30, 2024 Full Review Bullfight (1956) “It did project for me, more vividly idly than any prose description or verbal proselytizing ever has, the significance of the bullfight’s profound attraction.” – The Hudson Review Jan 30, 2024 Full Review La Strada (1954) 98% “Like any deeply felt and realized symbol, La Strada is at once nuclear and radiating; within its deceptively simple span, an eternal pattern and a prophecy are established.” – The Hudson Review Jan 30, 2024 Full Review The Virgin Spring (1959) 88% “With [this film], Ingmar Bergman has moved without further hesitation into the deep crucial places of tragic art, into the abiding forest which surrounds our daytime and gives the lie to our belief that all contingent evils can be socialized away.” – Film Quarterly Jan 30, 2024 Full Review The Wages of Fear (1953) 100% “Cluzot’s treatment of the finale (I sighed in relief at his staying with the juggernaut irony of the book) is a tour de force. The actors are inordinately real, especially Charles Vanel.” – Arts Digest Jan 30, 2024 Full Review Lust for Life (1956) 80% “By way of summary it should suffice if I declare that the film Lust for Life is monstrously inept. Its account -- no warmer word is appropriate -- of the life and art of one Vincent Van Gogh is not so much wrong as it is wrong-headed -- or wrong-hearted.” – Arts Digest Jan 30, 2024 Full Review Ace in the Hole (1951) 90% “In Ace in the Hole aesthetics would have been served by intelligence.” – Arizona Quarterly Jan 22, 2024 Full Review Fourteen Hours (1951) 63% “Fourteen Hours offered the best opportunities for clean movie action and editing, but Henry Hathaway, the director, and Joe McDonald, cinematographer, were both inhibited by Paxton’s script which failed to establish a coherent point of view.” – Arizona Quarterly Jan 22, 2024 Full Review The Passion of Joan of Arc (1928) 98% “The Passion of Joan of Arc is one film among probably less than a dozen of which it can be said that it adds deeply to the sum of one’s experience.” – Accent: A Quarterly of New Literature Jan 18, 2024 Full Review Limelight (1952) 88% “A creative cinematic imagination gone to seed.” – The Hudson Review Jan 18, 2024 Full Review Forbidden Games (1952) 100% “Summary is inadequate to convey anything but the general conception, surely the most extraordinary blend of tragedy and ferocious comedy ever achieved in the history of film-making.” – The Hudson Review Jan 18, 2024 Full Review The Third Man (1949) 99% “These means to fluidity, surprise, and persuasion, combined with the unreal reality of war-stripped Vienna and the incidental locales... give the whole film a percussive fluency, like a plausibly scripted nightmare.” – The Hudson Review Jan 18, 2024 Full Review Caught (1949) 100% “It succeeds as a qualitatively rich lesson in the art of the film director: the art of making an unexceptional story count for more than, in its preliminary form, it would seem to suggest -- or even to deserve?” – The Hudson Review Jan 18, 2024 Full Review The Queen of Spades (1949) 96% “Although it would be invidious to slight the multiple skills that organized the complex wonders... it must be allowed that their manifold efforts would have missed fruition without the compelling performances of Anton Walbrook and Edith Evans.” – The Hudson Review Jan 18, 2024 Full Review Louisiana Story (1948) 75% “Technique: No rhythm. No meaningful progression of shots. Yards of waste footage, based on the pedestrian assumption that what goes up must be shown coming clown or must be seen going all the way to the top.” – The Hudson Review Jan 18, 2024 Full Review Children of Paradise (1945) 98% “Although it introduces no fresh mutation of cinema techniques, Marcel Carne’s film is expressively superb, conceived symbolically and acted with histrionic elegance and feeling -- a rich parable of the uses of love.” – The Hudson Review Jan 18, 2024 Full Review Umberto D (1952) 98% “Few directors could manage... the beautiful cadence in this film where the coming of day is enacted through the actions of Maria as she gets out of bed. The scene is wordless, leisured and almost unbearably intimate.” – The Hudson Review Jan 17, 2024 Full Review Oliver Twist (1948) 100% “Certainly no better film than England's Oliver Twist was shown to American filmgoers during the year 1951 and one hopes that it will now enter the repertory of vanguard movie societies as securely as The Baker's Wife has done.” – New Mexico Quarterly Jan 17, 2024 Full Review
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