Into the breach of nostalgia for the old faux mainstream rushes the new genteel tradition, films that represent the decadent side of art-house movies, whether "Birdman" or "Boyhood" or "Mr. Turner".
The exceptions have mainly been examples of the backward-looking, second-generation tradition, films like the "Godfather" cycle, an ambivalent epic of an Italian family's incomplete Americanization, or "Fiddler on the Roof," a sentimental journey back to the world of the Eastern European shtetl, from whence the grandparents and great-grandparents of so many American Jews had come.
In its recognition of the potential influence and commercial significance of Tarantino's film, the jury's decision could not be faulted; nevertheless the choice appeared to close the curtain on the European cinema of ideas, a tradition of films based on character-driven narratives and an unhurried approach to pacing.
Writing in The Times, A. O. Scott said that in a break from holiday movie tradition the film, "briskly directed by Seth Gordon," is "refreshingly tart and lean, forgoing the usual schmaltz and syrup".
Writing in The Times, A. O. Scott said that, in a break from holiday movie tradition, the film, "briskly directed by Seth Gordon from a snappy, many-authored script, is refreshingly tart and lean, forgoing the usual schmaltz and syrup".
MARK ROMANEK'S "Never Let Me Go," which opens Wednesday, is the latest in the seemingly unstoppable, self-replicating tradition of films about cloning.
In the Natural Nylon tradition, the films are all expected to star company founders Ewan McGregor (tipped to play Shakespeare), Jude Law, Sadie Frost, Sean Pertwee and Johnny Lee Miller.
Reinforcements arrive, but not before martyrs are made.Though widely hailed as a new sort of war movie, "Saving Private Ryan" is in fact rooted in the Hollywood tradition of films made from the victor's viewpoint.
Following in the sci-fi tradition of films like "Solaris" and the monumentally creepy "Event Horizon," "Pandorum" presents a scenario where the line between reality and hallucination is constantly shifting.
Twenty-five years later, it stands up as a major documentary, in the tradition of films such as Harlan County USA, the 1977 documentary directed by Barbara Kopple about the plight of American miners.
But in the tradition of films such as semi-fictionalised The Castle, it's a hilarious and occasionally sad look at a side of Australian life whose essence is rarely captured with such affectionate accuracy.
