As discontinuous viewing increasingly becomes the norm and the slicing-up of films via image captures and video editing becomes a key part of the cinephilic experience, it seems more and more like history
An immaculate realization of clichés, a multi-billion-dollar lawsuit transmuted into a low-stakes male weepie, a bunch of college-movie stereotypes at play in a world of cruelly precise images—that
Tom Tykwer has had a somewhat up-and-down career, at least according to the reviews, but what he's up to now may be that rare thing in cinema, an unqualified good. Using his own money, he's set up a
When Eric Roberts, dressed as Vince McMahon, summarizes the insecure-dictator-with-a-daughter-conspiring-against-him plot of The Expendables as "bad Shakespeare," he's just touching the tip of the iceberg
Nimród Antal is a B-film classicist whose sensibilties belong to a time before pervasive special effects and whose skills have little to do with "delivering the goods" and a lot to do with bluntly, crisply
Screening at Edinburgh International Film Festival, the documentary feature Restrepo deals with the Second Platoon, Battle Company, 173rd Airborne Brigade, stationed in Afghanistan
Steven Soderbergh first worked with actor/monologue artist/diarist-poet Spalding Gray in 1996, filming the show Gray's Anatomy, which dealt with Gray's health troubles (a problem eye) and anxieties
Koji Wakamatsu's Caterpillar, screening at Edinburgh International Film Festival, is a short yet grueling tale of domestic horror set in a semi-depopulated Japanese village during World War Two
Alors. The opening gala film at this year's Edinburgh International Film Festival, The Illusionist is an animated film by Sylvain Chomet, who made The Triplets of Belleville, based on an unfilmed script
I wanted to see Prince of Persia: The Sands of Time for three reasons: (1) it's produced by Jerry Bruckheimer, whose strong financial instincts tend to eclipse the cartoon tomfoolery, phantasmagoric
The paradox of George Romero is that he is equally old-fashioned and forward-thinking; keen on the modern, thinking of it in classical terms. "Modern" in this case is society as it exists, and "classical
“The truth is that nothing is less sensational than pestilence,” says Camus. The format is that of an outbreak-thriller, yet Elia Kazan stages it as an exuberant stylistic experiment, an affectionate