The Catholic Church has a problem. An 18-year-old novice in a small southern French village claims to have seen an apparition of the Virgin Mary several times, and pilgrims are flocking in their hundreds to attend services with her and the local priest, who is
Happy New Year, everyone! This is the Classic Film Kid again, and with the Christmas decorations rightfully being taken down and the tree being boxed up again, it’s time to get back with some serious reviewing, and we will kick off 2017 with a review
Released just six months before his death from cancer, Andrei Tarkovsky’s The Sacrifice is commonly held to be an uncomfortably elegiac, melancholy note for the great director to bow out on, which considering the rest of his films were hardly Duck Soup is saying something.
Solaris got the remake, Andrei Rublev got the Vatican’s thumbs-up, and Mirror famously caused Lars von Trier to declare Andrei Tarkovsky was God. But the biggest cultural footprint of all the Russian director’s seven feature films undoubtedly belongs to Stalker. His adaptation of Arkady and Boris
Andrei Tarkovsky’s third film, following his chilling debut Ivan’s Childhood and the mammoth Andrei Rublev, Solaris is a film that is more about experience and environment than enjoyment or leisure. Clocking in at 2 hours and 40 minutes, this science-fiction voyage into the human soul
A keen suspension of disbelief is critical in the enjoyment of genres predicated on wonder, whimsy and exaggeration, not having a healthy penchant to believe the unbelievable locks swathes of the more imaginative hues of cinema behind locked door. Curious it is then that 1993’s