Going by the changeover on movie theater marquees, the July 4 weekend starts today. Time Out New York's David Fear reminds us that what "we're celebrating is a historical regime change instigated
Above: Piero Tosi, costume designer for Il gattopardo (1963), presents a World Cinema Foundation restoration of the Visconti film to a packed Saturday night audience in Bologna's Piazza Maggiore. JUNE
This documentary is an almost too-perfect example of a discomfiting trend, one in which the privilege of access determines the ability to get an entire film made. Which is to say that about the only
"The great French critic André Bazin said of director Luchino Visconti that he filmed the Sicilian fishermen in La Terra Trema as if they were 'tragic princes.'" Sam Adams for the Los Angeles Times
"Children of the Hydra ... Happy 90th Birthday Ray Harryhausen, god of stop motion animation," tweeted Simon Pegg earlier today. The occasion marks the opening of the exhibition Ray Harryhausen
In an old Lester Bangs piece (not that there have been any new Lester Bangs pieces since the early 80s, but you get my drift) that I can't find in either of the late critics' anthologies, Bangs recounts
"One of the finest literary adaptations ever made, Chantal Akerman's La Captive (2000) distills La Prisonnière, the fifth volume of Marcel Proust's sprawling In Search of Lost Time, to a spare
"Olaf Möller lives in Cologne, writes about and programs films." It's a typically modest blurb that appears at the end of innumerable articles for international film magazines but behind it lie countless
"I was not angry since I came to France / Until this instant." 'Tis bard quote is inevitably uttered by the Ferroni Brigade, while suffering the Cannes juggernaut, usually sooner than later—
Screening at Edinburgh International Film Festival, the documentary feature Restrepo deals with the Second Platoon, Battle Company, 173rd Airborne Brigade, stationed in Afghanistan
The opening credits, with the text excised and only the images held (except for the "Tintal" credit, which is inseparable from the image), from Michelangelo Antonioni's masterpiece Red Desert (1964), cinematography
Fortunately, we have Knight and Day behind us, but I'm glad to be updating that same entry still with fresh takes on Restrepo. In this roundup: What the critics are saying about the other films