"Disco and Dantean inferno, Pablo Larraín's Tony Manero portrays a dead-eyed survivor who is 'stayin' alive' during the bloody years of Augusto Pinochet's regime in Chile." James Quandt for Artforum
"The cinema of Stan Brakhage has been interpreted as abstract, mythopoeic, philological, and lyrical," writes Joseph Jon Lanthier in Slant, "but it's his hyper-auteurist approach that might be
"Often called Japan's greatest living filmmaker, Nagisa Oshima, now 78, kept up a furious pace through the first half of his career, cranking out 18 films in 14 years," writes Dennis Lim in the
"For all of its enduring popularity The African Queen has not been available on American home video since the distant days of the laserdisc, apparently because the source material was in badly degraded
"Too often there's nothing but ego at the center of today's micro-indies," writes Michael Atkinson at IFC, "but Joshua Safdie's The Pleasure of Being Robbed isn't merely slacker realism or geysering
Above: Germany Year Zero. Courtesy of the Criterion Collection. Many of the extras (interviews, visual essays) included in this Criterion DVD set are more or less standard, which is not to say unappreciated
If Resnais made crime thrillers…The grimy smudge in the Alcatraz cell at the onset might be Proust’s “little patch of yellow wall” (The Captive), the dying Bergotte here becomes Lee Marvin’s double
"There are few American films as subtle, moving and bursting with human truth as Leo McCarey's Make Way for Tomorrow (1937), and few that have been as unjustly forgotten." So begins one of Dave Kehr
De Sica characters in Antonioni landscapes, that’s Ermanno Olmi’s Il posto. The larva-like protagonist (Sandro Panseri) is introduced under a cocoon of bedcovers in his parents’ provincial home before
Lola Montès (1955) is "Max Ophüls's final masterpiece," declares Josef Braun, "mangled upon its initial release, newly restored in all its unspeakable gorgeousness, and now available from the Criterion
Grindhouse is back, at least in Los Angeles and Chicago. Cinefamily is screening 70s-era exploitation double features every Friday in February, a series co-presented by Temple of Schlock: "These films
While Chantal Akerman's early works—Le chambre, Hotel Monterey, News from Home, Je tu il elle, and Les rendez-vous d'Anna—have been chronologically grouped based on her sojourn in New York City during