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.

Posts by R. Emmet Sweeney

Vincente Minnelli had been interested in making a surrealist musical since his days as a Broadway set designer and director. After he saw successful stagings of “Four Saints in Three Acts” (with libretto by Gertrude Stein) and “Pins and Needles” (starring members of the International Ladies Garment Workers Union), he was convinced he could make [...]

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Two sixty-something masters of their domain have new work showing in the U.S. John Landis, a dean of the low farting arts, has his morbid comedy Burke and Hare playing cable-on-demand services and a limited theatrical run. Harun Farocki, of the high brow-furrowing arts, has a new exhibition at the Museum of Modern Art entitled [...]

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Under the cover of disrespectability, direct-to-video (DTV) action movies are quietly throttling their theatrical brethren. Despite having budgets one-tenth of studio spectacles, these DTV scrappers excel where it matters most: the craft of shooting a fight scene. As the enigmatic film critic/ex-con Outlaw Vern stated in his review of The Marine 2, “Some of us [...]

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“In true travel, what matters are the magical accidents, the discoveries, the inexplicable wonders and the wasted time.” -Raúl Ruiz, paraphrasing Serge Daney in Poetics of Cinema No director wasted time more spectacularly than Raúl Ruiz, who passed away last week at the age of 70. The restively prolific Chilean, who fled to Paris after [...]

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Joan Blondell made herself at home in the cinema. Regardless of the plot or set decoration, Blondell would adjust her sheer stockings and plop into a seat as if she was at a cuckolded boyfriend’s pad. This Warner Brothers working class goddess buckled knees with this studied insouciance,  a glamour of gum-smacking nonchalance. Our blog-a-thon [...]

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To celebrate Lucille Ball’s 100th birthday on August 6th, Warner Archive released three films from her time as “Queen of the Bs” at RKO. She appeared in 21 films for the studio between 1938 and 1942, nabbing seven credits in ’38 alone. Made quickly and forgotten even faster, these occasionally flat farces are enlivened by [...]

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You know this gaunt growler. He lurks in the disreputable direct-to-video section of your local video store, if it still exists, or pops up on Netflix in a low-budget creeper rated with one reluctant star. He is, of course, Lance Henriksen, a tireless worker and a real character of a character actor. In his wild, circuitous [...]

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A baboon and Santa Claus are witnesses to man’s descent into savagery. In Sands of the Kalahari (1965, out on DVD today from Olive Films), a charter plane crashes in the African desert, and its passengers battle each other (and some observant simians) for survival. Live Like a Cop, Die Like a Man (1976, a [...]

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Rebecca Yancey (Kathryn Grayson) taps into popular sentiment with the modernist anti-landscape above. The second daughter of Cap’n Bob Yancey (Frank Morgan), longtime district attorney in Lynchburg, Virginia, Rebecca is trying to escape the role of a proper lady, with the suffragettes’ equal opportunity rhetoric ringing in her ears. Set in 1913, Frank Borzage’s The [...]

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Kay Francis dreamily asks for your complicit silence. She is about to commit an illicit act, and it would be gentlemanly not to speak of it.   So I shan’t, although I will spill fawning words about the film that encloses her, William Dieterle’s Jewel Robbery (1932). It is screening as part of Film Forum’s Essential [...]

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