Well, this is cutting it a little close as a review for Madison audiences, but I strongly encourage folks to venture down to see Bastards, the final installment of the current series for the Madison Museum of Contemporary Art's Spotlight Cinema, tonight (Thursday, December 5) at 7:00 p.m. You may recall my earlier post about their screening of Museum Hours, and programmers Tom Yoshikami and Mike King continue to do a great job bringing in films that deserve longer commercial runs in Madison.
Claire Denis has had a prolific career since her directorial debut, Chocolate, in 1988. I think my favorite of her films has been Beau Travail from 1999, which combined a deliberate pace with attention to textures and details. I also admired her art-horror film Trouble Every Day (2001) with Vincent Gallo, which for one reason or another remains difficult to access on video in the U.S. At the moment her 2009 feature, White Material, is available on Netflix Watch Instantly.
Bastards (or Les Salauds) starts with an elliptical sequence of a man in his office during a rain storm. In its simplicity, the shot of the man standing in the foreground as the rain falls heavily outside the window in the background is one of the most gorgeous shots I've seen in a while. The opening sequence also sets the stage for the kind of work the audience will have to do to piece together cues provided in a more cryptic style of visual storytelling. We quickly piece together that the man has committed suicide, and that his daughter Justine (Lola Créton) has been mysteriously traumatized. In another elliptical sequence we meet the main protagonist of the film, Marco (Vincent Lindon), who learns of the death of his best friend and brother-in-law and abandons his position as a cargo ship captain to return to his sister and his traumatized niece. The best parts of the opening act of Bastards work almost like a Jean-Pierre Melville thriller: spare dialogue, characters focused on quick, distinct actions, and just enough room for the audience put all the pieces together.
Marco learns from his sister, Sandra (Julie Bataille) that she suspects the wealthy Edouard Laporte (Michel Subor) of using her daughter as a kind of sex slave. A month later, Marco moves into an apartment in the building where Laporte lives with his mistress Raphaëlle (Chiara Mastroianni) and their young son. It doesn't take long for Marco and Raphaëlle to notice each other. In one great sequence, Marco leans over to help the young boy fix his bicycle chain, and Raphaëlle notices the muscles thinly veiled under Marco's expensive white shirt. One of the several strengths of Bastards is the great chemistry between Lindon and Mastrioanni; their characters have the kind of intense sexual energy that only unhappy people can share.
The balance of the movie follows Marco as he investigates what happened to Justine and possibly contemplates some kind of revenge against Laporte. In the process, Marco must sacrifice almost everything he cares about to reconnect with a family that he had deliberately distanced himself from years ago. What he discovers is perhaps needlessly over-the-top. Denis seems to have a preoccupation with violently traumatized vaginas; I recall two women jumping out of their seat and immediately leaving the theater during a particularly gory scene in Trouble Every Day. And the ending might be a bit too perfect a fusion of art film ambiguity and film noir genre conventions. But throughout the film you feel like you are being guided by a talented visual storyteller and her committed cast working in peak form.
Container ship captain Marco Silvestri is called urgently back to Paris. His sister, Sandra, is desperate; her husband has committed suicide, the family business has gone under, her daughter has been admitted into psychiatric care. Sandra accuses the powerful businessman Edouard Laporte of being responsible. Determined to find the businessman's weak spot and exact a terrible revenge for the violence done to his family, Marco moves into the building where Laporte's mistress, Raphaëlle, lives with her son.
Maria is a White farmer who runs a failing coffee plantation in an unnamed African country in the present day. Civil war has broken out and rebel soldiers, many of them child soldiers, are advancing on the area. Rebels on the radio advocate attacks on emblems of colonialism. Maria's workers leave, but she refuses to abandon the plantation, and searches for men to finish harvesting of the coffee.
It looks like we will have a very small window of opportunity to watch Robert Altman's The Long Goodbye on Netflix Watch Instantly. I had just noticed that it had been added it seems like a few weeks ago, but as I prepared this entry I noticed on InstantWatcher that it is scheduled to expire on November 1.
If you haven't seen it before, you should take this opportunity to do so. As he did with many genres in the 1970s, Altman undermines the conventions of the film noir detective film while fine-tuning his staging and shooting style that would reach its peak with Nashville a few years later. Elliot Gould could not be more different than Humphrey Bogart as Phillip Marlowe, nor could the sun-splashed pastel Los Angeles be more different than the dark streets we most often associate with Raymond Chandler. Altman also mixes a wide range of tones in the film, so some viewers might not be sure exactly what they're watching (the studios weren't exactly sure what to do with the film, which led to a range of publicity campaign strategies). The mix of tones is readily apparent in the opening sequence, with the jokey use of multiple versions of "The Long Goodbye" theme song (a self-aware comic motif that continues through the film). But it would be misleading to call this a comedy or a spoof, particularly with scenes involving Marty Augustine (Mark Rydell) and his young mistress. The film takes elements of the genre seriously enough to explore the disconnect between the values of the film noir hero and 1970s America.
There are several other Altman films currently streaming, including O.C. and Stiggs, which I have mentioned before. For now, below I will just include another film from one of his most productive periods, Thieves Like Us, and a film from his so-called comeback in the 1990s (although he would have denied ever being away in the 1980s), Vincent and Theo.
The Long Goodbye (Robert Altman, USA, 1973, 112 minutes) Netflix: Robert Altman cleverly updates the exploits of classic 1940s hard-boiled gumshoe Phillip Marlowe (Elliott Gould, in an unforgettable performance), who ferrets out a killer in the City of Angels circa 1974. Now, Marlowe is a wisecracking cynic who deals with coke-addled, sun-worshipping suspects and nudist neighbors. Funny, suspenseful and engaging, the film features an early, unbilled appearance by Arnold Schwarzenegger. Netflix link. Note: Expiring 11/1/11
Thieves Like Us (Robert Altman, USA, 1974, 122 minutes) Netflix: A trio of criminals (Keith Carradine, Bert Remsen and John Schuck) go on a bank-robbing spree through the Depression-era Deep South, terrorizing the population and managing to stay just one step ahead of the law. Along the way, each robber also finds love in director Robert Altman's period crime drama. This remarkable and understated 1970s film also stars Shelley Duvall, Tom Skerritt and Louise Fletcher. Netflix link.
Vincent & Theo (Robert Altman, USA, 1990, 140 minutes) Netflix: Robert Altman's biopic delves into the lives of painter Vincent van Gogh (Tim Roth) and his dedicated brother, Theo (Paul Rhys). The story centers on the pair's relationship as gallery owner Theo struggles to promote the works of his brother, who remained a relative unknown until after his death. As Theo fails in his efforts and his financial problems mount, Vincent's disturbed mental state worsens, and both brothers sink into despair. Netflix link.
[Mobile Users Double Click on Video for Fullscreen]
You probably have noticed that Chinatown has been added to Netflix Watch Instantly, so I thought I'd add a quick Saturday entry with some other Polanski related suggestions. The documentary Roman Polanski: Wanted and Desired is well worth your time even if you don't think you're interested in his story or the controversy surrounding his escape from statutory rape charges in California.
Chinatown (Roman Polanski, USA, 1974, 130 minutes) Netflix: With a suspicious, porcelain-skinned femme fatale (Faye Dunaway) bankrolling his snooping, private eye J.J. Gittes (Jack Nicholson) uncovers intricate dirty dealings in the Los Angeles waterworks and gets his nose slashed for his trouble. Meanwhile, his financier harbors a nasty family secret. Director Roman Polanski reimagines 1930s Los Angeles with an onionlike story that reveals itself one complex layer at a time in this classic neonoir. Netflix link.
Cul-De-Sac (Roman Polanski, UK, 1966, 99 minutes) Netflix link: Roman Polanski directs this tense, dark comedic thriller about two wounded criminals, Dickie (Lionel Stander) and Albie (Jack MacGowran), who hole up at a secluded seaside castle belonging to old, meek Englishman George (Donald Pleasence) and his young, vibrant French wife, Teresa (Francoise Dorleac). Soon, only Dickie is left to terrorize the couple, and bizarre relationships between the three begin to form. Jacqueline Bisset co-stars.Netflix link.
Roman Polanski: Wanted and Desired (Marina Zenovich, USA, 2008, 99 minutes) Netflix: This penetrating documentary explores the tumultuous events of director Roman Polanski's personal life, including the murder of his pregnant wife, Sharon Tate, and the controversial sex scandal that prompted him to flee the United States for France. Highlights include an interview with Polanski's victim, Samantha Geimer, as well as candid conversations with Chinatown screenwriter Robert Towne and actress Mia Farrow. Netflix link.
[Mobile users double click on video for fullscreen]
Two of the films in today's entry probably don't need to be brought to your attention because you've probably noticed them popping up in Netflix's "New Movie Arrivals" on Watch Instantly. But in the spirit of creating themed entries to encourage you to explore the less familiar on Netflix, I've matched them with a lesser known Jeff Bridges film from the early 1980s.
The Big Lebowski is one of those strange films that might not impress you on first viewing, but gets significantly better as you think about it and talk about it and revisit it with repeat viewings. Certainly that was my experience watching it when it was initially released, and many considered it an odd misfire after the critical success of Fargo. But it has subsequently been absorbed into pop culture to such a degree that perhaps it's quotes and references ("It really ties the room together," "The Dude abides," see The Big Lebowski Random Quote Generator for more) are better known than the movie itself. So whether you're seeing it for the first or fiftieth time it is well worth checking out on Netflix Watch Instantly.
The Big Lebowski (Joel Coen, USA, 1998, 117 minutes) Netflix: Slacker Jeff "The Dude" Lebowski (Jeff Bridges) gets involved in a
gargantuan mess of events when he's mistaken for another man named
Lebowski, whose wife has been kidnapped and is being held for ransom.
All the while, Dude's friend, Walter (John Goodman), stirs the pot.
Brothers Joel Coen and Ethan Coen write and direct this cult comedy
classic that also stars Steve Buscemi, Philip Seymour Hoffman, Julianne
Moore and John Turturro. Netflix link.
Okay, so Tron: Legacy is not as good as most of the films that I post here, but it is still worth watching at least one time, if only for the performance of the CGI generated young version of Jeff Bridges as Clu (Codified Likeness Utility). I thought the film took too much time making sure that it showed updated versions of the famous sequences from the first film, rather than going wherever the imagination could go in the Tron universe. But that said, the visual design is often quite stunning.
Tron: Legacy (Joseph Kosinski, USA, 2010, 125 minutes) Netflix: While investigating the mysterious disappearance of his father, Kevin
(Jeff Bridges), techie Sam Flynn (Garrett Hedlund) lands in a beguiling
computerized world of enslaved gladiators, where his dad has been living
for more than 20 years. Joined by Kevin's trusted friend (Olivia
Wilde), the father and son must journey across a breathtaking -- and
perilous -- cyberscape in this 21st-century update to the beloved 1982
sci-fi classic.Netflix link.
I'm not familiar with Cutter's Way but after looking into it I placed it in my queue and I look forward to catching up with it. From the trailer it looks like it might resonate in interesting ways with The Big Lebowksi, not for Bridges's role, but for John Heard's role (almost unrecognizable, until you hear his voice) as the eccentric Alex Cutter. This film had an interesting distribution history, getting mixed to negative reviews on first release, but subsequently found more receptive critics after United Artists turned it over to its classics division.
Cutter's Way (Ivan Passer, USA, 1981, 109 minutes) Netflix: Burned-out beach-bum Richard Bone (Jeff Bridges) and his best friend,
disfigured Vietnam veteran Alex Cutter (John Heard), stumble on a murder
cover-up involving a powerful landowner in director Ivan Passer's
brooding crime thriller. But Bone gets more than he bargained for when
Cutter insists on blackmailing the suspect, who forces them into a
cunning cat-and-mouse game that ignites a full-blown war. Lisa Eichhorn
plays Cutter's neglected wife. Netflix link.
I've taken a little hiatus from the blog to take some time and think about what I want to do with it in the future. It had become less fun and more like a chore, and the quality of the writing was way down as I struggled to post as many recommendations as possible. The basic information was good and helpful to people based upon feedback, but that basic information (new releases, etc.) could be gleaned from other sources. So from now on I will be posting on fewer days and trying to improve the quality of each post.
I also felt like I was only watching stuff to write about it, rather than watching stuff to enjoy it and write about it later. So to break that pattern I decided to watch something a bit longer, take my time with it, and finally come back to write about it. I chose the new Sherlock series created by Steven Moffat to test this new approach to the blog.
Masterpiece Mystery!: Sherlock (Steven Moffat, UK, 2010) Netflix: This modern-day refresh of Sherlock Holmes has Arthur Conan Doyle's deductive genius (Benedict Cumberbatch) moving through London as a Web-adept consultant to Inspector Lestrade (Rupert Graves), and Dr. John Watson (Martin Freeman) as an Afghan War vet who shares his Baker Street digs. Shedding the Victorian trappings but retaining the dark humor and clever wordplay, the opening season plunges Holmes into "A Study in Pink" and two other cases. Netflix link.
I've been intrigued by this new take on Sherlock Holmes because as many of you know I'm also a very big fan of Doctor Who, and Moffat has taken the reins from Russell T. Davies as head writer as of Season Five last year. Various comparisons have been made between Matt Smith's Eleventh Doctor and Benedict Cumberbatch's modern Sherlock (in fact, both of them have been nominated for BAFTAs). It's also worth mentioning that Netflix Watch Instantly is also now streaming Season Five of Doctor Who, so if you do take the plunge and watch Sherlock you'll find some elements in the lead characters echoing with each other (the many "But of course....!" moments, just to name parallel).
But to get to Sherlock itself (and remember that if you're looking for it on Netflix Watch Instantly, the official American title isMasterpiece Mystery!: Sherlock), the series consists of three 90-minute episodes, and the lengths have advantages and disadvantages. (The un-aired 60-minute pilot is included on the DVD set but is not on Netflix Watch Instantly.) The advantage is that particularly in the opening episode, "A Study in Pink," the extra time allows for more character development and interplay between Sherlock and his new colleague, John Watson. The disadvantage is that the plots themselves do not always warrant 90-minutes, which is particularly true for the second episode, "The Blind Banker." I'll say more about the second episode below, but for now let me focus on the two strong episodes, "A Study in Pink" and "The Great Game"
Sometimes modernizing classic characters can come off as forced or too silly. For the most part, the modernization of Sherlock Holmes works well in part because the series emphasizes how he interacts with the information age and is able to process what most of the rest of us would not notice. Perhaps the best stylistic manifestation of this is the show's stylistic gambit of integrating cell phone text messages on the screen rather than cutting to close ups of the phone or computer. Information is therefore simply integrated into the flow of the scene as Sherlock continues to multi-task and observe and converse with those around him. At times the device gets a bit too cutesy, especially with its initial use in a police press conference in which multiple cell phones receive the same message from Sherlock. But once this effect becomes familiar things calm down the device becomes particularly useful for conveying aspects of Sherlock's character. Once we understand the parallel between the device and how we ourselves might integrate such information in our own daily life, Moffat and the directors take things one step further and integrate other kinds of information on the screen to parallel how Sherlock's heightened powers of observation and deduction process what for us would be a sensory overload.
The iconic characters of Sherlock Holmes and Dr. John Watson are also given a modern re-boot. Watson is a wounded veteran of the Afghanistan conflict, and while I thought this was used to great effect in the first third of episode one, I was disappointed that his experience as a modern veteran has not been as effectively integrated into the rest of the series. Sherlock on the other hand is portrayed as having the social skills just shy of Asperger's Syndrome, and some of the police warn Watson that Holmes may be just shy of criminal pathology himself. What leaves the strongest impression about the pair beyond these modern twists, however, have more to do with the performances ofBenedict Cumberbatch as Holmes and Martin Freeman as Watson themselves. They both have great chemistry as they give the time-tested Holmes/Watson banter a breath of fresh air, while at the same time self-consciously acknowledging the gay subtext of it all (were Doyle's Homes and Watson the original bromance?). And of course both Holmes and Watson have a presence on the web: Holmes has a website called The Science of Deduction (which you can visit here), and Watson's blog about his adventures with Holmes (which you can visit here) becomes the source of the stories, just as Watson's journals were the fictional source of the Doyle's original Holmes stories.
The first and third episodes best utilize all of the factors mentioned above and are relatively flamboyant in terms of narration and style. And while my overall reaction to the series was positive (I'm not going to blog much about things I don't want you to see) I do have to mention how horrible I thought the second episode was. It feels like an after thought, and it even has to introduce a new police foil for Holmes as Detective Inspector Lestrade is not in the episode. The series was created by Moffat and Mark Gatiss, and since they wrote the first and third episodes, respectively, they clearly had a better handle on the material. But "The Blind Banker," written by Steven Thompson, plays like a 90-minute version of a 60-minute cop show from the 1970s, and a villainous secret Chinese organization that at times seems to come out of a 1930s serial. The episode also introduces the thankless role of Sarah, a potential love interest for Watson. While her character initially shows some promise as she hires Watson, showing Watson's difficulty adjusting back to post-Afghanistan life, she quickly turns into little more than the potential victim of violence in the protracted climax. Luckily she only makes a passing appearance in "The Great Game," and until they decide what to do with her character she hopefully won't return. That said, what still does manage to save the episode from complete dismissal is the chemistry between Holmes and Watson, which continues to develop in interesting ways in the episode.
The first and third episodes both work as individual episodes and as pieces of an overall story-arc involving Holmes's arch-rival Moriarity (episode two also has a component of the arc, but again nearly as an afterthought). The first episode has a clever twist on the revelation of Moriarity, and the third episode picks up on interesting connections to the first. At times the mysterious Moriarity seems a bit too much like a 1960s super-villain with seemingly endless resources. But the cat-and-mouse between Holmes and Moriarity, even when it strains credibility, is deliciously entertaining. And within this arc Watson also has an interesting development, as he realizes that Holmes will do anything to avoid losing in a game of wits; Watson's conscience has to decide to what degree he will enable Holmes in potentially self-destructive behavior.
In an effort to make this blog more interactive, I'm going to experiment with some polls using Polldaddy. When you get a chance to watch Sherlock, let me know what you think.
Edit 5/23/11: From the BAFTA awards: "Sherlock won the best Drama Series award, beating Being Human, Downton Abbey and Misfits. Martin Freeman also won under the Sherlock banner for best Supporting Actor."
In the coming weeks the Thursday entries will focus on either popular genres (Western, Musicals, Horror, Comedy, Action, Sci-Fi, etc.) or on television series (yes, that means there will be at least one Doctor Who entry). I’m going to cheat a bit on my own premise and schedule by starting with this entry of films from the 1970s that I really should have seen at this point in my life, but I haven’t. So while future entries will focus on one particular genre, I’ll break this entry into a variety of genres. Of course, what is great about many 1970s films is the degree to which they played with genre conventions and fused them with influences from art film and modernist filmmaking practices. So some might argue that these genre labels are misleading (even though I"ll use Netflix labels as my guide); that may be true, and I look forward to hearing those objections in the comments section.
It might seem a bit odd to recommend films that I haven’t seen yet. But part of my aspiration with this blog is to start a dialogue with people about what they’re watching and how they’re using the streaming services currently available. So the fact that I’ve now admitted to having not seen these films will light a fire under me and force me out of shame to finally sit down and watch these, since they’re just sitting there in my queue and there’s really no excuse not to watch them. And now I am subject to peer pressure from those reading this to finally see them.
This list is inspired in part by the recent list Time Out list of the 100 Best British Films of all time. Topping the list was Nicholas Roeg’s Don’t Look Now, which has been on my View Instantly queue for far too long (and yes, it was on there before the Time Out list came out). It is also inspired by the fact that Don't Look Now will only be streaming for another few days, expiring on March 1. So hopefully this entry will light a fire under all of us to watch it. As it turns out, there are three Nicholas Roeg films from the 1970s on the list (and a fourth from 1980, Bad Timing, is also currently streaming), so we'll start out with those.
Netflix: After losing their young daughter in a tragic drowning accident, John (Donald Sutherland) and Laura (Julie Christie) Baxter relocate to Venice, Italy, where they meet an elderly psychic woman who insists that she sees the spirit of the child. The couple is unsure of this stranger's visions, but John begins to have psychic flashes of his own, seeing the child walk the streets of Venice. Is he insane, or is there a deeper meaning to the sightings? Netflix link.
Once again, this will no longer be streaming after March 1, so let's take a look at it and share feedback in the comments section. This is the title I'm most embarrassed not to have seen at this point, so perhaps I will watch it right after I post this.
Netflix: On the lam from his gangland cohorts, mob muscleman Chas Devlin (James Fox) gets more than he bargained for after taking refuge at the home of reclusive, faded rock star Turner (Mick Jagger) and his two bohemian gal pals (Anita Pallenberg and Michèle Breton). The two-bit enforcer soon finds himself ensnared in Turner's hedonistic lifestyle and trapped in mind games designed to challenge Chas's sense of identity. Netflix link.
Since Nicholas Roeg seems to be getting all of the love in this list, let me recommend looking at this hard to find documentary on Donald Cammell over on You Tube (posted across seven separate 10 minute segments, the link is to the first segment).
Netflix: Horrific circumstances strand an urban brother and sister (Lucien John and Jenny Agutter) in the Australian outback, where they're found by an aboriginal boy (David Gulpilil) who helps the pair return to their city. As they wander, the siblings survive danger with the help of their new friend. The bond between the three grows, but when they reach civilization, the aboriginal boy finds he's unwelcome. Netflix link.
Of course, as a Criterion Collection release, we're at a disadvantage to watch the stream instead of being able to watch the extras on the DVD. This may change with Criterion's deal with Hulu, which may lead to having extras available to stream. Meanwhile, here's a brief essay on the film by Roger Ebert on the Criterion Current webpage.
Netflix: Cut-rate private eye Harry Moseby (Gene Hackman) finds himself caught in a labyrinth of mendacity and murder in director Arthur Penn's top-notch suspenser. Tapped to locate the runaway daughter (Melanie Griffith) of faded Hollywood star Arlene Iverson (Janet Ward), Harry heads to the Florida Keys, where what he considered a run-of-the-mill case turns into something much more. Meanwhile, his marriage is slowly disintegrating. Netflix link.
Arthur Penn had a wide ranging career. He was at the forefront of the changes in American cinema during the 1960s with Mickey One and Bonnie and Clyde (the latter of which is on Watch Instantly). He ended his career with films like Penn and Teller Get Killed (1989). But in the 1970s he was still considered a top director, with films like Little Big Man with Dustin Hoffman and this detective drama starring Gene Hackman and a young Melanie Griffith.
Netflix: Writer-director John Cassavetes crafts a relatable tale of romance about two utterly average people: Minnie Moore (Gena Rowlands), a museum curator recovering from a bad break-up with her married boyfriend, and Seymour Moskowitz (Seymour Cassel), an outspoken parking attendant. Nothing about Seymour seems "right" -- not his face, not his job nor his demeanor. But Minnie finds herself falling for him anyway. Netflix link.
John Cassavetes is a key figure in the history of American independent filmmaking, and this is one of his lesser known efforts. At some point you should also look at his other films currently available for streaming, including Shadows, Opening Night, Killing of a Chinese Bookie, and especially A Woman Under the Influence. Also available, which I haven't seen, is A Child is Waiting, one of his films directed for a Hollywood studio before his return to independent filmmaking with Faces.
Netflix: Harry Collings (Peter Fonda) has been traveling around with his fellow drifter and friend Arch Harris (Warren Oates). Disturbed by thoughts of the wife (Verna Bloom) and child he left behind so long ago, Harry decides to attempt a reunion with them by working on the family farm. All is well until Arch is taken prisoner by a past enemy; now, Harry must choose whether to uphold his responsibility to the family or save his longtime friend. Netflix Link.
Truth be told, I have barely heard of this film beyond the browsing that I did while researching this entry, but the reviews and comments intrigued me enough to put it on this list. With Warren Oates in the cast, I'm curious to see if it is like some other alt-westerns from the early 1970s like The Shooting (which now fetches $50.00 and up for a DVD on Amazon). We'll see...
Netflix: After the assassination of a leading U.S. senator, journalist Joseph Frady (Warren Beatty) notices that the reporters who witnessed the murder are inexplicably dying. Frady investigates and finds that the assassination was part of a conspiracy involving a shadowy therapy institute called the Parallax Corporation. Driven by curiosity, he infiltrates Parallax in an effort to uncover the truth. Hume Cronyn co-stars as Frady's editor. Netflix link.
This film is well known enough, and was on television often enough when I was in high school, that you would think that I would have seen it by now. Despite being out on DVD since 1999 (and apparently in stock at Amazon), this is not available on DVD though Netflix.
Netflix: After a House of Lords member dies during a bizarre cross-dressing ritual, his nutty son, Jack (Peter O'Toole) -- who thinks he's Jesus Christ -- is bequeathed the family estate. As a result, his family members must scheme to steal back Jack's inheritance. This 1972 cult comedy, in all its murder and mayhem glory, takes a swipe at every swath of class-obsessed British society. Arthur Lowe shines as Jack's lucky servant, Tucker. Netflix link.
Another film that seemed to be on cable television often enough when I was in high school that you think I would have seen it. Also notable as a title cited in the complaint comments for its exemption from the Time Out Top 100 British Films list mentioned at the top of the entry. Most recently Peter Medak has directed for American television, including episodes of The Wire, Carnivale, and Breaking Bad.
Claire Denis has had a prolific career since her directorial debut, Chocolate, in 1988. I think my favorite of her films has been Beau Travail from 1999, which combined a deliberate pace with attention to textures and details. I also admired her art-horror film Trouble Every Day (2001) with Vincent Gallo, which for one reason or another remains difficult to access on video in the U.S. At the moment her 2009 feature, White Material, is available on Netflix Watch Instantly.
