Paris Belongs to Us defies genre and defies even the loose standards of the New Wave. It does, however, undeniably represent the cinema of Jacques Rivette.
“‘Hail Mary’ is a film of significant meaning and remarkable artistry, but one that tends to get obscured by a controversy that, in all reality, was relatively isolated and, over time, proved to be rather reactionary. Now available on a Cohen Media Group Blu-ray for the first time, this contentious title from one of Godard’s most eclectic and productive periods of filmmaking can be newly appreciated (or damned).”
Ocean’s Twelve has a reputation that will always precede it; some have called it an anti-sequel, and publications like Entertainment Weekly have dubbed it one of the worst sequels of all time. Though both reactions are, perhaps, understandable, neither is remotely accurate. Ocean’s Twelve is an inherently self-aware sequel, possibly the most self-aware follow-up in modern history. What Steven Soderbergh, screenwriter George Nolfi (whose original script, Honor Among Thieves, was completely unrelated to Ocean’s Eleven and was sold initially before that remake had been released), and the slightly larger-than-before ensemble cast did was make a sequel to a critically and commercially lauded caper film that was wholly cognizant of the fact that it was a sequel to a critically and commercially lauded caper film. Ocean’s Twelve toys with audience expectations, because to cave into them would’ve promised something potentially more disturbing and commonplace than what many perceived to be an ambitious creative flop: something boring.