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
Where does this film fall within the chronology of gangsterdom, American style? Somewhere in between this week's much-anticipated Public Enemies (and its actual chronological precursors, such as two
Above: Michael Mann (second from the right) and crew members working on Public Enemies. Photo by Rob Olewinski. I spent a few days in the summer of 2008 on the set of Michael Mann's Public Enemies
Andrea Arnold's follow-up to her acclaimed Red Road (2006), follows also in the footsteps of Alan Clarke, director of films and BBC plays, whose influence has spread out in strange ways since his untimely
Above: The Biograph Theater in 1934 and as it appeared when re-decorated in 2008 for the production of Public Enemies. I spent a few days in the summer of 2008 on the set of Michael Mann's Public Enemies
"Pontypool. Pontypool. Ponty-pool." It's such a pleasure to discover a film like director Bruce MacDonald and writer Tony Burgess's Pontypool at a film festival (Edinburgh, in my case) without knowing
If ever there was a director whose work should be represented by magnificent posters, it is Sergei Paradjanov. His symbol-laded films, and especially his 1968 masterpiece The Color of Pomegranates, are
Last week, we wrote, " [T]he Transformers films are abominations which any grown adult ought to be ashamed to even bring up in conversation." Hence, this week: Transformers! The jive (or whatever its