"Revived for a week at Film Forum in an excellent restored print, The Prowler (1951) may be the creepiest of classic noirs," writes J Hoberman in the Voice. "Joseph Losey's hard-to-see third feature is a tawdry tale of sexual power relations that anticipates the director's early-60s art-house comeback, The Servant."
"As a stylized, long take-heavy noir by an expat career formalist, The Prowler is comparable to Kubrick's The Killing," writes Justin Stewart in L Magazine. "After a crucial two-week rehearsal period during which the director and lead actors crafted their characterizations, the movie was shot in just seventeen days. Even still, it brings the same rigid, symbol-rich mise en scène... and fluid camerawork as Losey's British collaborations with Harold Pinter."
In Time Out New York, Keith Uhlich notes that this "long-unseen feature by the often-underestimated Joseph Losey counts among its fans such esteemed critical voices as Dave Kehr and Manny Farber, not to mention the great crime novelist James Ellroy."
On a related note, Glenn Kenny: "One of the most significant DVD releases of the year will be hiding in plain sight, as it were, on April 6, when Sony puts out its three-disc, six-film Hammer Icons of Suspense collection. For one of the six films in the collection is Joseph Losey's These Are the Damned, a landmark of eschatological filmmaking and an essential, if not quintessential, Losey work. The picture is still as staggering, and as odd, as it must have been when it was first released in a much-truncated form almost fifty years ago." And it screens on Sunday at the Pacific Film Archive.
"The Anthology Film Archives's Tarkovsky X3 program presents three films at the core of the director's (already compact) oeuvre — a primer of sorts to his best-known feature-length films," writes Ara H Merjian for Artforum. Friday through Sunday. More from Eugene Kotlyarenko, who presents three opening sequences for Interview.
"Strange, disorienting and unexpectedly affectionate, the documentary 45365 weaves together an emotional tapestry from life in the small town of Sydney, Ohio (the location of the zip code of the film's title)." Mark Olsen for LA Weekly: "Directed by brothers Bill and Turner Ross, the film won the jury prize at last year's SXSW Film Festival, and more recently picked up the Independent Spirit Awards' Truer Than Fiction honor. It's easy to see why." At Downtown Independent for one week.
Also: "It's easy to wind up intimidated to the point of apathy by Renoir's lofty reputation," writes Mike D'Angelo. "Not only are several of his films perennials on lists of the greatest ever made, but the very name Renoir signifies imposing High Art to most people, thanks to Jean's even more celebrated dad, painter Pierre-Auguste. Last week, son joined father in retrospective glory at LACMA, where The Films of Jean Renoir (no catchy title necessary, I guess) continues weekends through April 10. That the series unspools at a museum may inspire further assumptions of dull mustiness, but pop your head in even briefly and you'll discover that Renoir's pictures have endured not merely by canonical fiat but because they're all so gloriously, messily alive."
A massive Romuald Karmakar retrospective opens this weekend at the Filmmuseum in Vienna and runs through April 7.
"Now in its seventh year, the Boston Underground Film Festival has a knack for showing you things you've never seen before," writes Shaula Clark: "BUFF 2010 proves no exception, starting with the exquisitely weird opening-night entry, Love Exposure." Thursday through April 1. Also in the Phoenix, Peter Keough previews the Boston Turkish Film Festival at the Museum of Fine Arts. Thursday through April 11.
The Chicago Reader's JR Jones rounds up local goings on.
Reviews from SXSW Film, on through Saturday, carry on in torrents from the Austin Chronicle and IFC.
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