Sin City: A Dame to Kill For
"Sin City: A Dame to Kill For" doesn't have the electricity of the original, mainly because we've already seen it. Nothing more is really revealed…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An appreciation of the life and work of the legendary producer Menahem Golan.
Mike Cahill's "I Origins" is just the latest in a history of film's obsessed with the human eye.
An interview with Emmanuelle Seigner, star of Bitter Moon, The Diving Bell and the Butterfly, and the new Venus in Fur.
A love letter to classic movie villains; Seth Rogen is not a victim of the Santa Barbara killings; Remembering Jeff Vice; Cliff Curtis on playing multiple ethnicities; Who is a feminist now?
The annual presentation of the 2014 Palme de Whiskers was a star-studded affair this year.
Paul Walker's digital double; Why Godzilla is still king; The legacy of "Mr. Smith Goes to Washington"; Larry Kramer on "The Normal Heart" movie; How internet journalism destroyed Tom Cruise.
Barbara Scharres is back with a Cannes report on the premiere of Jean-Luc Godard's 3D "Goodbye to Language."
A history and appreciation of R.W. Fassbinder on the launch of a retrospective screening series at the Lincoln Center.
A history of movies not directly based on comic books but definitely inspired by them.
Barbara Scharres previews the 2014 Cannes Film Festival.
Cannes releases their lineup; Fargo, the TV show; Landmark anime; Under the Skin and Only Lovers Left Alive; Documentary subjects who don't want to be documentary subjects.
Writer Glenn Kenny responds to our Movie Love Questionnaire.
Cohen Media Group has made a name for itself as a boutique DVD and Blu-ray label, bringing overlooked and under-appreciated works of cinema to new audiences.
Walter Biggins defends Armond White, the City Arts critic and editor who was recently expelled by the New York Film Critics Circle, as a provocative but necessary voice in movie criticism.
Writer Peter Sobczynski responds to our Movie Love Questionnaire.
Brian Doan wonders if Mark Cousins' "The Story of Film," showing over 15 weeks on TCM this fall, deserves all the praise it has received.
Sheila writes: We're all familiar with the horror movie cliche: someone (usually a woman) is alone, creeped out, and investigating a sound she finds ominous. Naturally, it turns out to be just a cat, but that cat can give a pretty good scare. Thankfully, we now have "Supercut: It's Just a Cat" to get our feline scare-fix all in one place.
Fiona Apple fumes; defending "The Story of Film"; bringing "Gravity" lovers back to earth; inside the Tenenbaum house; David Byrne on how the 1% Are Ruining New York.
Sheila writes: BAFTA-award winning "Pitch Black Heist" is a 13-minute film directed and written by John Maclean, starring Michael Fassbender and Liam Cunningham (reunited after their 28-minute one-take scene in Steve McQueen's 2008 film "Hunger"). Here, they play two criminals hired to crack a safe. The only catch is that they must do their work in the dark: any light at all will trigger the alarm. Elegantly filmed in black-and-white, it's a taut fun little thriller with a twist ending. In case the video doesn't work here, you can also view it at Cinephilia and Beyond.
Some of our contributors muse on pies in the movies. Yes, you read that right.
Peter Sobczynski ranks 27 films by Brian De Palma.
Patrick Z. McGavin writes about "Shoah," which was just issued on Blu-ray by Criterion in a thorough package that makes the film's unique storytelling more transparent to the layperson. "Lanzmann has said the form and construction is the key to understanding his film," McGavin writes, "and with this new version, that process has never been more intuitive."
Distribution company Olive Films has released two obscurities by Jean-Luc Godard, 1976's "Comment Ca Va" and 1987's "Soigne ta Droite" (known in the U.S. as "Keep Your Right Up") and while these films may not have the immediate impact of his better-known works, they both reveal a filmmaker who has spent his career challenging himself, his viewers and the very medium of cinema itself in ways that are oftentimes fascinating and frustrating in equal measure.
Ben Kenigsberg looks forward to the parallel programs at this year's Cannes Film Festival.