Joseph Renouf

Joseph Renouf is an editor by day and a writer by night. His interests include movies, particularly epics and silent films; classical music, especially the romantics; billiards and bowling; and getting wasted (he often combines this with his other interests).

Jan 192017

I must say, I was starting to worry about whether Martin Scorsese had sold his soul to the Hollywood media elite after a couple of decades of producing such shameless Disney-fied fluff as The Aviator and Hugo or bloated, pedestrian epics like The Departed and Gangs of New York. But with Silence, a visually haunting historical drama about several Jesuit priests’ struggles between faith and temptation in the face of religious persecution in 17th-century Japan, the veteran director has atoned for his past sins.

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Oct 292016

“It’s a new and improved slasher flick! Now with dreams!” The way some people laud the jejune gorefest A Nightmare on Elm Street, they might as well be admen enthusing about the new features on their company’s latest stove model.

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Oct 242016

Were The Shining not helmed by one of the most critically acclaimed directors of the past 100 years, people would probably remember it as a creditable B-horror-movie effort. Steven Spielberg or Sam Raimi would be proud to be responsible for such gorgeously filmed nonsense. But Stanley Kubrick—the genre-defining director of such classics as 2001, Barry Lyndon, and Dr. Strangelove—should not have been.

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Sep 272016

Rarely, if ever, have I been so perplexed by a film’s critical accolades as I am by those bestowed upon Federico Fellini’s La Dolce Vita. In step with the central protagonist’s self-indulgent quest for amorous fulfillment, Fellini slogs through a seemingly interminable sequence of disjointed episodes, drily recycling hackneyed interpretations of love, God, and death that never gel into a coherent story—let alone come close to deserving the film’s hallowed “work-of-art” reputation.

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