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

Secrets of the French Police is an everything-but-the-kitchen-sink oddity that flings together police procedurals, adventure serials, and a horror villain with hypno-murder powers. Never settling into one genre for more than a few scenes, it’s totally incoherent and bizarrely entertaining, as it absorbs influences from the famous French Inspector Bertillon to Dracula and The Mystery of the Wax […]

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After viewing Too Late For Tears (1949), I would advise all couples against accepting cash-stuffed valises of mysterious origin. Sure, it would be nice to be raised up out of your dead-end middle-class marriage, but there is the whole issue of the money’s origin, and the pile-up of bodies that keeping the cash may entail. Too Late For […]

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The light comedy The Man and the Moment (1929) was considered lost until a dupe negative was recently discovered at Cineteca Italiana di Milano. This part-talkie from First National Pictures was restored in 2K by Warner Bros. at L’Immagine Ritrovata laboratory in Bologna, and was released on Warner Archive DVD last month. A charming proto-screwball comedy, it’s […]

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  “These rhymes and raps that I have were told 50 years ago by the beer joint and liquor store wise men who used to sit out in front of the store, drinking beer, lying, and talking shit. What I did, I picked them up. I even gave older winos money to tell me those […]

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  “I have seen people after the war that came from concentration camps, they were violated in their bodies and their minds, and they were contaminated by the violence. They became violent themselves. This is what I wanted to show in Cutter’s Way.” – Ivan Passer Cutter’s Way is a sickly film, its characters hungover or half […]

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Only Angels Have Wings keeps growing stranger with age. This studio-era classic is about a group of nihilist flyboys who enact their dreams of self-destruction out of an imaginary South American cabana. Howard Hawks insisted on the film’s realism, as he based it on the stories of some ragged pilots he met in Mexico, but the movie […]

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  “The release of Paris Belongs to Us is a score for every member of the [Cahiers du Cinéma] team – or of our Mafia, if you prefer…For Rivette is the source of many things. The example of Le Coup de Berger, his short film of 1956, made me decide to shoot Les Mistons, and Claude Chabrol to be […]

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  Tay Garnett’s Her Man (1930) has had a small but enduring auteurist cult, for those lucky enough to have seen the Cinematheque Francaise print that circulated in the ’50s and ’60s. In his American Cinema, Andrew Sarris wrote of its “extraordinarily fluid camera movements that dispel the myth of static talkies”, while British critic Raymond Durgnat […]

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“This film is dedicated to my father and his generation, who suffered so much for my generation to suffer less. I hope they, the forgotten, can be made unforgettable.” – Edward Yang, director’s note for A Brighter Summer Day   A Brighter Summer Day is an empathic epic of Taipei in the early 1960s. Four […]

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  Jean Eustache’s My Little Loves (1974) is about a boy. Twelve-year-old Daniel climbs trees, flirts with girls, and punches classmates in the stomach. He is poised between youth and adolescence, and the film seeks to capture all the moments, and all the silences, of this befuddling transition. After Eustache’s coruscating The Mother and the […]

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