Mamet’s first, best, and most influential film receives a sturdy transfer that could nevertheless use a bit more refurbishing.
Three of the respective mediums’ most emotionally gratifying collisions are now available in an exquisite gift package.
Thomas is back on Broadway in the Manhattan Theatre Club’s revival of Henrik Ibsen’s An Enemy of the People.
The agitated emotions of Chekhov’s personages become veritable landscapes in the hands of André Gregory’s assembly.
Conventional wisdom suggested that adaptations of the biggest bestsellers would make up much of this year’s shortlist.
Redbelt may or may not be David Mamet’s best feature, but it is most definitely his least sycophantically written.
A robust overview of Frankenheimer’s most vital years, despite the recycled extras.
It surely isn’t lost on David Mamet that the title of his 1987 debut feature, House of Games, doubles as a three-word summation of his career.
It’s become an industry workhorse—a miracle of modern science, no doubt. But in 1991, Mamet distrusted it—not because he was any sort of Luddite, but because he thought the Steadicam encouraged lazy filmmaking.