There’s an enigmatic quality to the role of Nolan in the current filmmaking landscape.
After Jean-Pierre Jeunet’s wantonly prettified toy cities, Trash Humpers’s pageant of belligerent grubbiness is almost welcome.
It once again brings something like the best—or at least most talked about—Cannes offerings across the pond for their American premiere.
After a long day at the Toronto Film Festival, Diablo Cody called me up to talk about the movie and her continuing efforts to process unexpected fame.
Telluride effectively plays two roles within the film festival economy.
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.
In her best work, even when she’s being precious, there’s an underlying force and anger that threatens to shatter everything into little pieces.
Michael Mann’s films tell the kinds of stories that writing gurus love because they can be summed up in a single sentence.
From his spiritual commitments to his choice of beats, Matisyahu does nothing without careful consideration.
I can’t think of any filmmaker who so adeptly and obsessively focuses our attention to precisely what’s on screen.
Writer-director Wai Ka-fai’s collaborations with Johnnie To stand out from To’s filmography.
The Hurt Locker is a work of exhaustive filmic intricacy that required Bigelow to contemplate even “the sound of heat and dust, and the sun.”
The truth is not that Callahan is spending years cowering on one side of the shadow line in between crossovers.
Coppola discusses what it means to be a personal filmmaker these days in Hollywood.
After greeting the crowd with an amiable hello, the band played through nearly all of their most memorable songs.
Herzog’s world is harsh and cruel, dominated by a violent natural order in which humanity’s place is precarious at best.
Has the collective growl in the belly of a world in crisis finally made it to movie theaters?
Bart Mastronardi’s psychological horror film Vindication owes plenty to the complex mythologies of Clive Barker novels.
Slant caught up with del Toro in Beverly Hills to discuss his work with his fellow Mexican filmmakers.
She wailed with an astonishing clarity throughout songs like “Glass” and “Pearl’s Dream.”