Comical media images of women exploding provided outlets for spectators to laugh off the hazardous politics of everyday domesticity.
Ann Miller may have scraped off her share of dog shit in Mulholland Drive, but none stuck quite so magnificently as Easter Parade.
Hello, Gorgeous offers one of the most sympathetic portraits of Streisand to emerge from the stockpile of books that have been written about “The Greatest Star.”
These cinematic sisters leave a mark as strong as a thicker-than-water bond.
These shacks have giddily opened their doors to audiences through the years.
The production and presentation of Minnelli’s first masterpiece gets everything right that really counts.
As the economy crumbles all around us, Depression-era nostalgia is in the air.
Reassembled and augmented to the nth degree, these discs are nirvana for Friends of Judy.
A fine disc of a strange film.
The Pirate lacks consistency, but it’s so off-beat and subterranean that it will always be of interest as a cult film.
Some movies defy criticism and inspire reactive critical insanity.
The new editions will cut you to the quick. Angela Lansbury’s incessant voiceovers will just cut your eardrums.
Almost every incidental character has their own song to sing, their moment to define their function in the plot through performance.
Jules Munshin’s recipe for, ahem, tossing salad is about as compelling as Easter Parade gets.
Meet Me in St. Louis remains one of the most vital of musical films.
“Have yourself a merry little Christmas, it may be your last. Next year we may all be living in the past.”