The trailer for Sam Mendes' Revolutionary Road (2008) is particularly interesting because it utilizes one trend in contemporary trailers—relying on a pop song as a crutch to structure trailer rhythm, connote
Manohla Dargis on serious movies.
Above: Louis Garrel, behind the camera, and Laura Smet in front of it, in Philippe Garrel's Frontier of Dawn. SPOILERS TO FOLLOW. As if in warm-up for its upcoming Carl Th. Dreyer retrospective, BAM
John M. Stahl's 1945 Leave Her To Heaven is a terrific film to spring on your less well-informed friends who think 1940s films, particularly 40s "women's pictures," as it were, are silly and trivial
Click the image of Johnny Depp as John Dillinger to watch the trailer for Michael Mann's new film in all its digital glory. Due out this summer, to our rapidly increasing excitement.
DR. LIVINGSKELETON, I PRESUME? The Living Skeleton is a lot of fun, or at least, that was my experience, or I think it was. I have to couch things in the most uncertain terms, because
Above: Guy Debord's In girum imus nocte et consumimur igni (1978), which plays in the Film Comment Selects 2009 program. Credit: The Film Society of Lincoln Center / agnès b. The Film Comment Selects
Above: Emotional distance is spatial distance in F.W. Murnau's The Haunted Castle (1921). Sad, isn't it, to see John Ford and Frank Borzage honored so highly in 2007 and 2008 on home video with a lavish
There's one way in which Maurice Pialat's 1968 L'Enfance nue (Naked Childhood) fundamentally differs from the other two films about (male) childhood with which it otherwise stands pillar to pillar. Those
Above: Marie Bunel and Gérard Depardieu in Claude Chabrol's Bellamy. The uncomfortable irony with the Film Society of Lincoln Center's Rendez-Vous with French Cinema national survey of films is that
Above: Nina Hoss is Christian Petzold's Jerichow. There’s an immediately apparent irony to Cinematheque Ontario’s current retrospective of films from the so-called ‘Berlin School’, a group of loosely
Spectacles of suffering and sex, Finnish director Teuvo Tulio’s films are so similar in construction and theme that they run together like one long soap opera composed of a scattershot jumble of bucking