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Kevin Filipski
Times Square, August 2009

Bruckner’s Decision (Arthaus Musik), a 1995 docudrama by director Jan-Schmidt Garre, recreates a pivotal moment in the composer’s life with an insightful musicality; in the gritty 1988 Homeboy (LionsGate), Mickey Rourke’s meticulously detailed portrayal of a down-on-his-luck boxer attempting a ring comeback is complemented by Eric Clapton’s moody musical score; David Mamet takes to the streets for Homicide (Criterion), his disappointingly routine 1991 cop drama buoyed by Joe Mantegna’s racy portrayal of a detective with problems on and off his beat (best extra: Mamet and William Macy’s commentary); although far too long and repetitive, the psychological intensity of John Cassavetes’ 1970 Husbands (Sony) remains its most salient feature, along with indelible acting by Cassavetes, Peter Falk and Ben Gazzara (best extra: Cassavettes tribute); at more than three hours, Chantal Akerman’s 1975 character study Jeanne Dielman, 23 quai du Commerce, 1080 (Criterion) is either minimalist cinema at its best or most boring, depending on your mood—I’m in the latter camp, despite Delphine Seyrig’s presence (best extra: documentary Autour de Jeanne Dielman); Whit Stillman’s 1998 The Last Days of Disco (Criterion), another of his brittle comedies of manners, is a snapshot of a bygone Manhattan era: young adults hooking up in the early ‘80s (best extra: Stillman and Sevigny commentary)






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2:03:24 PM, 29 July 2014
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