Yes, the scene where one of the characters in Greenberg gets an abortion is unhysterical. And, yeah, the friendship between the men played by Ben Stiller and Rhys Ifans is a relatable one. And, sure
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
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
I don’t know why it should come as a surprise to anyone that writer/director James Cameron should continue to own, or, as the kids today say, PWN, the science-fiction/fantasy genre in cinema. After all
Serge Daney once said that there were two types of filmmakers: those that believe that everything has already been filmed and they are only making variations on pre-existing ideas, and those that understand
TheGoodTimesKid has a director with a famous father (Azazel Jacobs having sprung from the loins of the prodigiously fertile experimentalist Ken Jacobs [Star Spangled to Death]) and no other obvious credentials
Above: Abel Ferrara directs Bijou Phillips on the set of Chelsea on the Rocks. If you think of Chelsea on the Rocks, the new movie by Abel Ferrara, as an “informative documentary,” then it probably
There's a great deal of sweetness in Jane Campion's Bright Star. A painterly interpretation of the romance between Fanny Brawne and John Keats, the film grows from a wealth of tender material. Keats
The story is not simple. Nor should it be. Mark Whitacre is Matt Damon with a bad hairpiece and a moustache. He's a charlatan, and, like any good charlatan, his act is based on a lot of truth-telling;
“Le Streghe, les femmes entre elles” (Jean-Marie Straub, France/Italy)
Neveldine and Taylor don’t even have the good taste to seem reserved
It is difficult for me to qualify what it is about Liverpool I find so overwhelming, one of the great films of our times. Some time ago, Andy Rector, in reference to Pedro Costa’s Colossal Youth