
In Fabric
Strickland frequently tests viewers’ patience, but his off-putting sensibility is powerful enough to make In Fabric as mesmerizing as its subject: salesmanship as a sinister,…
Strickland frequently tests viewers’ patience, but his off-putting sensibility is powerful enough to make In Fabric as mesmerizing as its subject: salesmanship as a sinister,…
Portrait of a Lady on Fire is its own, wondrous, magnificent thing.
Roger Ebert on James Ivory's "Howards End".
"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…
An article about today's noon premiere of a new movie about architect Benjamin Marshall at the Gene Siskel Film Center.
An article about the screening of Horace Jenkins' "Cane River" on Friday, November 1st, at the Academy Film Archive in Los Angeles.
Scout Tafoya's video essay series about maligned masterpieces celebrates Steven Soderbergh's Solaris.
An article about today's noon premiere of a new movie about architect Benjamin Marshall at the Gene Siskel Film Center.
An FFC on Gavin Hood's Official Secrets.
A celebration of Yasujiro Ozu, as written by a Far Flung Correspondent from Egypt.
A piece on Robert De Niro, Harvey Keitel, and Joe Pesci, and what they've meant to the career of Martin Scorsese.
A review of Apple TV's Truth Be Told with Octavia Spencer and Aaron Paul.
* 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.
The best recent releases on Blu-ray and streaming services, including "Blue Ruin," "Middle of Nowhere," "Only Lovers Left Alive," and "Love Streams."
TORONTO -- Films set in imperial China, the American South and Iceland won the most important awards here Sunday, as the 25th Toronto Film Festival came to a close. The festival has no jury and is officially non-competitive, yet it managed to honor a dozen films at its closing brunch. There were lots of ties.
CANNES -- The riots were Wednesday. Kinski was Thursday. Relative calm returned by the weekend. But it is safe to say that few entrances in the history of the Cannes Film Festival have rivaled the reception of Nastassja Kinski when she arrived here for the premiere of her latest film, the luridly stylistic "The Moon in the Gutter." The film was not a success, but Kinski was a triumph -- not because of her performance, but because of herself. Has there ever been an actress in the history of the cinema who has so fascinated so many people without yet having appeared in a single truly great movie?