There are thousands of better Snake Plissken stills than this one. Get your act together, MUBI.

Forget about the movie, 'Why Don't You Dance?' is gorgeous.

The past shrivels and decays in front of your eyes. This is ruinous zen.

More a portrait of a shattered woman than anything else. The film sets an increasingly anxious mood and plays some decent head games which make for adequate homages to its influences (Polanski, Hitchcock.) However these are two filmmakers who were often defined by their powerful and revelatory climaxes, something this film definitely lacks. It unfortunately never hits that peak, and was thus slightly underwhelming.

This film makes me hyperventilate.

The remake was so much better.

Couldn't help but roll my eyes at all of the accolades given to BJM throughout the film. Though I like a lot of their music, they are essentially just late-comers to a psychedelic revival scene that would have been fine without them. No one featured in this film is a unique genius and certainly not a revolutionary. Still, between the fight scenes, drug use, and stupid people trying to sound smart, I was entertained.

Suzy <3.

I'm in love with this. A totally unorthodox, well-crafted epic. Built from a classic structure, a lot of strange notes are played throughout this composition and the way they blend is mesmerizing. To me it almost feels like a hybrid between Tarkovsky and Herzog (even though Herzog started making films years after this was released.)

Particularly stylish and raw for a trashy early 70's crime thriller. That glass to the face was hard as fuck. If there are films that beg for remakes that take artistic license, this is one of them.

add yantra

A film about coming home.

An interesting schism. Truffaut moves towards his commercial era while Godard heads into his hyper-political era. As the two gradually drifted apart, their work gradually felt less and less complete.

Maybe my favorite cinematographer at the moment.

Turns out David Foster Wallace was an enormous fan of this one.

Great ending.

One of the better 1980's horror movies in terms of visuals (intentionally and unintentionally.)

I got arrested on Halloween for smoking a blunt while drinking a Steel Reserve outside of a movie theater, waiting to see a midnight screening of this. Only an evil force like Freddy Krueger could provoke such reckless behavior.

After watching this film for the first time in six years, I'm suddenly seeing a lot of Rohmer influence that I wasn't aware of upon my first viewing.

Eccentric, humorous and often quite haunting. For fans of Mekas' "Walden" and "As I Was Moving etc." My favorite character is Runt.

Favorite movie when I was 6.

Does anyone know what release date for this one is?

Quite the hallucinatory experience.

I give it 4 out of 5 yawns.

Switch it back to the previous frame.

"Oh my God, look at the shape of that ass. That's the Platonic ideal. That ass is a higher truth."

Get Beer Fest and Club Dread on here ASAP. "Ah, Pee-nuh-lope."

Don't any of you idiots understand? The baby he swings around by the umbilical cord symbolizes the existence of faith in an increasingly turbulent society.

Lacking a single dull moment, Showgirls grabs my attention and keeps it from beginning to end.

Rohmer was brilliant. He knew there was no better way to analyze the human condition than by analyzing human relationships. Focusing on the intersection (or lack there of) of desires and needs, Pauline at the Beach is a very concrete dissection of the concept of freedom of choice, and a great film to be cross-examined with Stanley Kubrick's "A Clockwork Orange" (the approach is different, but the ideas are similar.)