Eddie and the Cruisers
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Martin
Martin Movie Reviews
Blog Posts That Mention Martin
“This Is The Life, Isn’t It?” Martin Mull: 1943-2024
When ‘Bad Boys’ Began, Martin Lawrence Was the Top Dog
Reclamation Through Restoration: Thelma Schoonmaker Talks Michael Powell, Martin Scorsese and Peeping Tom
He’s Got Something Going On: David Proval on Mean Streets, and Acting for Martin Scorsese
Steve Martin Is an Auteur Without Having Directed a Thing
All 10 of Martin Scorsese’s Directing Oscar Nominations, Ranked
Berlin Film Festival 2024: Honoree Martin Scorsese Honors Powell and Pressburger
Roger Ebert on the Films of Martin Scorsese
Arrow Releases Stunning 4K Special Edition of Martin Scorsese’s Hugo
Martin Scorsese was Roger Ebert’s Favorite Director
Cannes 2023 Line-up Includes Wes Anderson, Martin Scorsese, and Many More
The Stories Behind Martin Scorsese’s Killers of the Flower Moon
Revisiting Martin Scorsese’s Alice Doesn’t Live Here Anymore
Martin Scorsese’s World Cinema Project Returns with Fourth Criterion Box Set
Immerse Yourself in Martin Scorsese’s World Cinema Project #3
A Look Back at Martin Scorsese’s The Irishman
The Uncanny Valleys of Martin Scorsese’s The Irishman
In Defense of Peggy’s Silence in Martin Scorsese’s The Irishman
Martin Scorsese’s Dangerous Men: On the Actors of The Irishman
Video Interview: Martin Scorsese and Al Pacino on The Irishman
NYFF 2019: First Cow, Fire Will Come, Endless Night, Martin Eden
Revisiting Martin McDonagh’s Three Billboards Outside Ebbing, Missouri
Syfy’s George R. R. Martin Series Nightflyers is a High-Budget Misfire
Be Careful With It: Moments of Martin
Martin Landau: 1928-2017
Getting Out of Vaudeville: Demetri Martin on “Dean”
Silence, Guilt, Christ and Martin Scorsese
Martin Scorsese’s “Taxi Driver” Returns to Theaters for Two Nights Only
“Two Weeks in the Midday Sun” Reprinted with Foreword by Martin Scorsese
TIFF 2015 Interview: Martin Zandvliet on “Land of Mine”
Book Excerpt: “Mise en scène and Film Style: From Classical Hollywood to New Media Art” by Adrian Martin
TV Review: Martin Scorsese’s “The 50 Year Argument”
Martin Scorsese’s World Cinema Project
The Thinking Molecules of Titan: Ending by Martin Pitt-Bradley
A Kiss is Still a Kiss: Editor Donna Martin Recalls Working with Roger Ebert
Dina Martina’s Oscar Entertaining Party Hints!
The ‘Innocence’ of Martin Scorsese
Martin Ritt focused on social issues
No longer crazy, just wildly talented, it’s Steve Martin
Martin Short: ‘Cross My Heart’
Interview with Martin Ritt
Interview with Martin Scorsese
Martin Scorsese & Co. reassemble Woodstock
Cannes 2025 Video #9: Wrap Up
How to Be Human: A Personal Response to John Carpenter’s “Starman,” Now in 4K
Lookin’s Free: Joe Don Baker (1936-2025)
Cannes 2025: The Plague, The Mysterious Gaze of the Flamingo, Amrum
Though Uneven, ‘Overcompensating’ Is a Promising New Comedy
Restored and Rediscovered Festival Spotlights Organizations at the Forefront of Film Restoration
Movies without Tariffs: A Preview of the 2025 Cannes Film Festival
The 2025 TCM Classic Film Festival
Chicago Latino Film Festival 2025: Highlights of a Creative Force
The CW’s “Sherlock & Daughter” Appears to be Made for No One
What to Watch on Netflix: April 2025
Divisive “Assassin’s Creed Shadows” Works if You Let It
Seth Rogen’s Clever “The Studio” Skewers Hollywood with Love
Age Has No Expiration When It Comes to Talent
SXSW Film Festival 2025: Nirvanna the Band the Show the Movie, Fantasy Life, Brother Verses Brother
SXSW Film Festival 2025: Ghost Boy, The Secret of Me, Take No Prisoners
The Antidote for Fear: Natalie Morales on “My Dead Friend Zoe”
Screwball in Vermont: “Baby Boom”
30 Minutes On: “Watership Down”
Netflix’s “Cobra Kai” Lands One Final Nostalgic Punch In Its Last Episodes
10 Holiday Movies That Roger Ebert Loved (and Where to Watch Them)
Two Thumbs Up! The Individual Top Tens of 2024
2025 Sundance Film Festival Announces Ambitious Program
The Best Films of 2024
Lost Souls: Bringing Out the Dead at 25
Apocalypse Then: Godzilla Minus One Minus Color
“A Quiet Place: The Road Ahead” Wastes Potentially Rich Idea
VOTE for KAMALA HARRIS/TIM WALZ (Character Counts)
London Film Festival 2024 Highlights
The World Isn’t As Funny Now: Teri Garr (1944-2024)
FX’s “What We Do in the Shadows” Loses Some Of Its Bite In Season Six
Criterion Adds Val Lewton Double Feature to the Collection
London Film Festival 2024 Preview
“Megalopolis” and “Joker: Folie à Deux”; or, The Virtue of Burning Money
The Atlas of Cinema: In Praise of Adam Driver
HBO’s “The Franchise” Takes Satirical Aim at the MCU
