Fear and Desire
I guess I understand why Kubrick disowned this, but there is a place for amateur filmmaking in the world of cinema. Plus this film has great cinematography and some beautifully philosophical voice-over that hint toward Kubrick’s bright future.

Lupin the Third: The Castle of Cagliostro
A royal wedding, a castle full of counterfeit bills, and a jubilant thief willing to expose it all! Can we get some more animated action comedies please? Because this was so much fun! I have yet to see any of Hayao Miyazaki’s other work (yes, I know, it’s incredible I’ve made it this far without catching a single one), but I can already tell that the hype is real. If you haven’t seen The Castle of Cagliostro, I would highly recommend it— if not for the gorgeous animation and rich characters, then at least to see where Miyazaki’s long and influential journey began.

Following
This may be his first film, but it’s pure Nolan. The nonlinear structure, sneaky plot twists, and B&W noir aesthetic all hint towards his future filmography.
Nolan’s greatest asset here is his 16mm cinematography and shot selection. The film is jarring and intimate in a way that reminds me a lot of Memento. I also really enjoyed the lead performances much more than I anticipated (especially Alex Haw as Cobb, who feels like he’s pulled straight out of a pulpy crime novel).
Looking forward to rewatching this at some point in the near future, maybe on a Nolan binge before Tenet.

sex, lies, and videotape
As far as indie debut features go, it doesn’t get more slick than this. With such a great script, cast (Andie McDowell and James Spader are both brilliant), and sense of pace, it’s no wonder Soderbergh has become one of the most successful directors of this era. As far as the Palme d’Or is concerned, I think it’s definitely deserving, though I do think Do The Right Thing is the better film.

P.S. Between this movie and American Beauty, I think Peter Gallagher might be in the running for most punchable face… and I mean that in the nicest way possible.
P.P.S. While we’re on the topic of American Beauty, I think if we had kicked Kevin Spacey to the curb sooner, James Spader could’ve had a bigger presence in Hollywood throughout the 2000s and 2010s. The guy would’ve been great in American Beauty, Se7en, even House of Cards maybe.

It’s Impossible to Learn to Plow by Reading Books
A nicely atmospheric and lo-fi slice-of-life film that doesn’t offer much in the way of plot. That being said, it does capture a certain feeling of transience that I found deeply poetic. I think it’s also important to note that Linklater wrote, directed, produced, shot, edited, and starred in the film himself, a fact that should be motivating for any aspiring filmmaker who isn’t sure how to get started on making their own movie.

Easy Rider
I thought the cinematography, editing, and soundtrack were really good, but I just didn't connect to the film as much as I was hoping. That being said, I think Easy Rider is certainly an important artifact of the counterculture in the 1960s and an essential watch for anyone interested in Hollywood history. I'm looking forward to seeing how Tarantino channels the themes and atmosphere of Easy Rider into his latest film, Once Upon a Time in Hollywood.

Bob & Carol & Ted & Alice
While I thought the performances from the four leads were actually very good, I didn't particularly enjoy watching this one. I have come to believe that there is no such thing as a taboo topic in comedy, but that doesn't mean it's easy to make light of anything. In the case of Bob & Carol & Ted & Alice, the whole premise is based around one couple trying to convince the other couple that practicing infidelity is not only a moral way to live, but a superior one.

Much of the film is spent lampooning hippie morals and the idea of "free love," but that lampooning stops at a certain point. There is a climactic event (that I won't spoil here) that is portrayed to be both a positive and pivotal moment for both couples. That's when the film stopped amusing me and started to leave a bad taste in my mouth. Call me old fashioned, but I just didn't connect the film's sincere defense of marital infidelity.

Model Shop
“I just prefer to live, that’s all.”

I found Jacques Demy’s Model Shop to be a sensitive and sensorial portrait of Los Angeles in the late 1960s.
One of my favorite things about the film is its soundscape, which is characterized by the deafening sounds of cars rumbling, airplanes flying overhead, and a melancholic piano score from the band Spirit. Between this film and The Umbrellas of Cherbourg, I’m starting to understand Demy’s modus operandi— stories of forbidden love, emotional self-discovery, the juxtaposition of sounds and color, connected stories. I may not have been crazy about The Umbrellas of Cherbourg, but I am crazy about this. Can’t wait to dig deeper into Demy’s filmography.

Cactus Flower
This was a neat little film. I love movies that are just based around miscommunications and lies that snowball out of control. I guess my only real critique is that the humor feels a little old, but even so there's a lot to like here. The three leads are great, though I was surprised to learn that Goldie Hawn won an Oscar for her performance... if only comedic performances could win Oscars nowadays!

The Wrecking Crew
I totally get why Tarantino recommended this movie and why he included it in Once Upon a Time in Hollywood, but this film is bad. He knows it, I know it, I think we all know it. Believe it or not, the only good thing about The Wrecking Crew is Sharon Tate, who has some pretty amusing scenes as Miss Carlson, "the klutz."