R. Emmet Sweeney
R. Emmet Sweeney

R. Emmet Sweeney grew up in Buffalo, NY, where as a teen he haunted the few art cinemas in town. Soon he was gainfully employed slinging popcorn and ticket stubs in one of those theaters, where the restorations of TOUCH OF EVIL and REAR WINDOW inflamed his cinephilic passions. Further stoked by the film sections at the Village Voice and the Chicago Reader, he devoured as many moving images as he could, becoming an unrepentant auteurist in the process.

He earned a Masters degree in Cinema Studies from New York University, and has been writing about the movies ever since. His work has appeared in Film Comment, Time Out Chicago, The Believer, IFC News, the Village Voice, Moving Image Source, and most proudly, Baseball Prospectus. He lives in Brooklyn with his wondrous wife and the Ford at Fox box set. Follow him on Twitter at @r_emmet.

Posts by R. Emmet Sweeney

To view Whirlpool of Fate click here. In a fortuitous sequence of events, right after I acquired Pascal Mérigeau‘s biography of Jean Renoir, FilmStruck started streaming 16 of the director’s features and shorts. I’ve skimmed over the surface of Renoir’s career, having seen the acknowledged masterpieces like The Rules of the Game (1939) and Grand Illusion […]

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To view The Big Knife click here. In The Big Knife (1955) Jack Palance is a blunt instrument, barreling his way around a Bel Air living room set like a finely chiseled bull in a china shop. He plays Charlie Castle, a self-loathing movie star being blackmailed by the head of his own studio. So he signs whatever contracts […]

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To view Perfect Friday, click here. There is a blessed simplicity to a heist film, with its basic elements of planning and execution. Last week I looked at an elaborate cat-and-mouse variation of this trope, The Silent Partner (1978), while today I’ll discuss a streamlined version, the lighthearted British heist film Perfect Friday (1970). They are two of the six films […]

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To view The Silent Partner click here. In The Silent Partner, the devil is in the details. Elliott Gould’s mild-mannered bank teller Miles is transformed into a criminal strategist because he notices a scrawl of handwriting on a deposit slip. This causes his analytical mind to pivot its attentions from customer accounts to an elaborately unfolding heist. The […]

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To view Putney Swopeclick here. In 1969 Robert Downey Sr. waited outside a screening of Putney Swope  (1969) at the Cinema II in NYC to see if the film was still working as intended. As reported by Stephen Mahoney in Life magazine: “Two couples emerge. A woman is tearing at a handkerchief. ‘Tasteless. An exhibition…Filth’, she stammers. Under the […]

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To view Ronin click here. An Audi S8 sluices through the country roads outside of Nice, running down a trio of anonymous sedans. With the aid of pinpoint braking and navigational support, the Audi sideswipes its final target in the center of the city, taking out an outdoor cafe with it. This brutally exciting sequence […]

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To view He Walked By Night click here. He Walked By Night (1948) strips the police procedural to the bone. There are no backstories or love interests, just the case at hand, rigorously filmed by director of photography John Alton and directors Alfred Werker and Anthony Mann (FilmStruck is streaming five Anthony Mann/John Alton Noir collaborations: T-Men […]

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Claudia Weill described her companionable film Girlfriends (1978) with a quote from the Eleanor Bergstein novel Advancing Paul Newman: “This is a story of two girls, each of whom suspected the other of a more passionate connection with life.” Or to put it in modern parlance, it’s a comedy of FOMO (fear of missing out). Girlfriends portrays the NYC friendship […]

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Dušan Makavejev made his directorial debut with Man is Not a Bird (1965), a raucous portrait of a Yugoslav mining city currently streaming on FilmStruck as part of the Directed by Dušan Makavejev theme. Made with the full cooperation of the residents of Bor, an industrial town in eastern Serbia, the movie is filled with hypnotist acts, marriage breakdowns, […]

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There is a coup d’etat in an unnamed country, and a group of dissenting artists and intellectuals pour into an embassy, seeking asylum. Chris Marker’s The Embassy (1973) is a provocative short film, shot on Super8, that manages to conjure an entire fascist state out of twenty minutes of footage of a few apartment rooms. It was […]

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