Consensus is not fixed. Shout loud enough and long enough, and you can change it.
The Oscar telecast was generally well paced and well judged.
David Milch’s Deadwood is spiritual kin to Presbyterian Church in McCabe & Mrs. Miller.
Welcome to Robert Altman Blog-a-thon Weekend, in which criticism and commentary sites band together to pay homage to Altman.
There are as many participants in this thing as there are characters in an Altman movie.
Home was shot in 2002 and 2003, edited and sound-mixed in 2004, and made its theatrical debut last year.
Amazingly, this movie has been embraced by some of the country’s most prominent critics.
These are the sorts of films New York Times critic A.O. Scott recently complained weren’t being made anymore.
Mark Twain once said, “I didn’t have time to write you a short letter, so I wrote you a long one instead.”
If I can’t have real bodies and artful photography, I’d rather watch The Cartoon Network.
Just pick a title or titles from Altman’s filmography, or some other vaguely or tangentially Altmaesque topic, and weigh in.
The sci-fi epic that has proved surprisingly divisive for such a gentle movie.
Whoever watches it is likely to come away with a different set of observations related to the film’s structural and visual decisions.
The financial success of Brokeback Mountain undeniably represents a sea change in mainstream acceptance of homosexuality.
Leonardo DiCaprio, like Natalie Portman and Kirsten Dunst, seems less complicated and charismatic the older he gets.
The parks are shrines to Disney’s personality and imagination, an autobiographical spectacular.
To spend time at Disney parks is to roam inside the American mind, for better or worse.
Munich isn’t simply about vengeance, the whole eye-for-an-eye thing, though that’s certainly topic “A.”
Amazing stuff, particularly the details about the red wolf and the ivory billed woodpecker.
As you may have heard, the New York Press, which publishes my weekly column, has once again lost the top of its masthead.