Above: Dante's The Howling (1981). Joe Dante was kind enough to grant interview time during his visit to the Edinburgh International Film Festival. In a public event, he spoke of his early days cutting
A circle of New York film lovers gather for an impromptu discussion of Michael Mann’s Miami Vice (2006).
Above: An image from the beginning of The Life of the Dead. It's a good day. Cool Chicago summer — a few days before the 4th of July, but it feels like September. I'm sitting in the living room, going
Paper Soldier, dealing as it does with the early days of the Soviet space program (post-Sputnik, pre-manned flight) stands as a sort of interesting companion film to Philip Kaufman's The Right
Mann And Supermann: Not to go all site self-indulgent, but if you haven't checked out Ignatiy Vishnevetsky's reports from the set of Michael Mann's Public Enemies, you're missing a kind of perfect confluence
Maria Schell and Marcello Mastroianni in Luchino Visconti's White Nights (1957).
It feels weird to plead on behalf of William Wyler, who is certainly celebrated and respected and even known by a few people outside hardcore cinephilia. But his most famed works, like The Best Years
I saw Dario Argento's latest, Giallo, in Edinburgh last week, and was somewhat underwhelmed.But anyone who reckons that Dario has terminally "lost it" really needs to check out his previous effort, 2007
Above: "Let me explain the world to you," — the directorial attidue of Woody Allen's terrific Whatever Works. Suddenly I think I may have misjudged Woody Allen. Around the time of Scoop disturbing