Hosted by Tom Hyland of Cinema Directives
Cul-de-Sac (1966)
By Tony Dayoub of Cinema Viewfinder
"The premise of Roman Polanski's Cul-de-Sac (1966) resembles that of an ethnic joke, "An effeminate Englishman, a French nymphomaniac and an American gangster are stuck on an island..." And in many ways, Polanski approaches his moody character study with black comedy in mind."
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Cul-de-Sac
By Pete Roberts of Furious Cinema
"One of Cul-de-Sac's most interesting qualities is the mixture of eccentric personalities it tosses together. At the forefront is Lionel Stander, whose voice is so gravelly, whenever he talks it cuts through the movie like a buzzsaw."
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"One of Cul-de-Sac's most interesting qualities is the mixture of eccentric personalities it tosses together. At the forefront is Lionel Stander, whose voice is so gravelly, whenever he talks it cuts through the movie like a buzzsaw."
Read more here
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Cul-de-Sac
By Jean Melkovsky of Polanski- Odd Man Out
"George doesn't only lose his dignity at every step; worse, he is constantly trying to keep it or regain it, when invariably it is lost, making a deplorably ridiculous fuss while fighting this lost case."
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Frantic (1988)
By Adam Zanzie of Icebox Movies
"Though he never explicity acknowledges it, there is temptation for Walker to forget his wife and go for Michelle instead. One reason could be the possibility that Walker's wife may not have been kidnapped at all, but may, instead, have been whisked away by a lover in Paris."
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The Pianist (2002)
By Anna of Defiant Success
"Schindler's List is in the German's point of view; The Pianist is in the Jew's point of view. The fact the Polanski based some of the scenes off of his own experiences of the Holocaust gives it a more stunning feel."
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