In David Cronenberg’s Crash we are given a collection of characters with often overlapping but not always similar sexual fetishes.
“It’s the pictures that got small.” Those words make up the second half of one of the most famous quotes in movie history.
Trouble Every Day is quite possibly Claire Denis’s most challenging and unsettling film, both utterly typical of her approach and yet also a true outlier in her career.
Is WALL-E better than you expected, a notable Pixar achievement, or is it just more of the same?
Tarantino is offering a peculiar form of thrills, for the most part; it’s not always exciting in quite the way one expects a Tarantino film to be exciting.
Ed, I am daunted. Let’s get that out of the way. This is the last subject I ever expected us to cover—Quentin Tarantino.
Michael Mann’s films tell the kinds of stories that writing gurus love because they can be summed up in a single sentence.
I can’t think of any filmmaker who so adeptly and obsessively focuses our attention to precisely what’s on screen.
Herzog’s world is harsh and cruel, dominated by a violent natural order in which humanity’s place is precarious at best.
America’s relationship with Star Trek began before man ever set foot on the moon.
Is Soderbergh’s film better than Tarkovsky’s, or the other way around?
For our third installment of “The Conversations,” we decided to each select a film from the past 10 years that we thought was unfortunately overlooked and/or unfairly maligned.
David Lynch is a filmmaker who has haunted my mind since the first moment I saw one of his films.
It is only underneath, beneath the striking visual effects and Gumpian narrative, that Fincher himself is revealed.