And I was hooked up with a group of East Coast auteurists – mainly Howard Mandelbaum, Roger McNiven, Robert Smith, and Jeff Wise – who helped expand my taste and also had experience publishing zines and director monographs at the University of Connecticut. ❋ Unknown (2009)
According to the French auteurists via Andrew Sarris, the director comes in with eighteen cans of film under his arm the way that Sinclair Lewis would come in with a novel. ❋ PETER BISKIND (2010)
The auteurists posited that directors were in the best position to provide a film with its signature style and outlook, and that the best directors (not all directors) did just that, as any careful analysis of the body of work of a John Ford or an Alfred Hitchcock would manifestly show. ❋ Unknown (2007)
The Hawks cult that developed in the '60s also didn't spend much time on this movie, even though it's really quite a bit better than some of the later Hawks movies that the auteurists defended. ❋ Jaime J. Weinman (2007)
The early auteurists had a particular fondness for movies where a director brought a lot of visual flair to a terrible script, like Nicholas Ray did to a movie like Party Girl; it was considered the ultimate triumph of the director's art to make something out of nothing, rather than make a good movie from a good script. ❋ Jaime J. Weinman (2006)
What we want, though, is a different matter - and that's what separates most people from auteurists - we want great music, and because of those three albums back in ❋ Here (2010)
Big River and The Secret Garden, doesn't believe his sharp right turn into accessible family drama from the "Hedwig" crowd will rattle the auteurists too much. ❋ Unknown (2010)
And in the case of Off Broadway auteurists like Richard Foreman, the Wooster ❋ By BEN BRANTLEY (2010)
As a longtime Romero loyalist, I don't find it difficult to make a case for the film's value -- to justify it as a worthy if minor addition to his ongoing chomping on the body politic, just as John Ford and Howard Hawks auteurists can mine nuggets of golden meaning from such rocky late-career works as "Cheyenne Autumn" and "Red Line 7000." ❋ Unknown (2010)
McLintock! may be uncool but I'd much rather watch its cast brawling and mud-sliding across my screen than those Howard Hawks Rio El Dorado Lobo Geritol horse operas that all the auteurists hanging around the bingo hall find so "axiomatic," not to mention The Man Who Shot Liberty Valance, which carries too much sand in its boots and drags considerable awful. ❋ Unknown (2010)
Lerner, though nearly unknown except to auteurists and noir fans, is dry, expert, unexcited and really, really good. ❋ Unknown (2010)
The auteurists who championed Bergman and Antonioni also championed the westerns of John Ford, the action movies of Howard Hawks, the musicals of Vincente Minnelli, and other mass-appeal Hollywood fare. ❋ Unknown (2009)
It was here that faithful readers first learned of director John Carpenter's illicit appreciation not of the Howard Hawks of Rio Bravo (keen-eyed viewers of his Assault on Precinct 13 would have already connected those dots), but also the Howard Hawks responsible for films deemed too silly even for all but the most rabid auteurists, films like ❋ Unknown (2009)
Circles and Squares (the Squares being hero-worshipping auteurists, for those of you playing along at home). ❋ Unknown (2009)
"And yeah, 'that guy sure knew how to block a scene' sounds like auteurists slurping through the ice cubes at the bottom of world cinema - but the discovery of a fluid, consummately cinematic style in a genre journeyman from the middle echelons of his national film industry is cinephilia's purest rush." ❋ Unknown (2009)
