Bogdanovich’s affecting look at small-town Americana gets a terrific UHD upgrade.
The film is a still-relevant portrait of America’s schizophrenic relationship with gun violence.
The Other Side of the Wind isn’t a novelty item, but a work of anguished art that’s worthy of its creator.
Ahead of its world premiere at the Venice Film Festival, Netflix has released the trailer for Welles’s unfinished last film.
A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting.
Familiar as its art/life paralleling may be, it’s all fueled by a filmmaker with an intimate relationship to his subject matter.
While featuring much screaming, accusations, collision of agendas, and the exhuming of dirty secrets, the film remains emotionally tone deaf.
Box office grosses are becoming mere statistics to be batted around among industry insiders and fans.
Critically reviled upon release and ripe for reappraisal, the film’s title may (hopefully) prove sweetly prophetic.
Barry Forshaw has made a career out of studying the dames, pistols, machismo, and glistening city streets that define crime fiction.
It’s ironic that the talking-heads interviews in Alex Stapleton’s documentary feel so self-conscious.
Just as one frontier closes, be it Old Hollywood or the Old West, another one opens.
Roger Corman has had as much influence over modern Hollywood as Spielberg or Scorsese, and for good reason.
Criterion’s release is exactly what their Eclipse line should be doing and should be at the top of every cinephile’s wish list this holiday season.
“You can’t re-do Lubitsch.” As they say, truer words.
A limited but revealing look at Peter Bogdanovich’s remembrances of cinematic things past.
Robert Davi makes his directorial debut with The Dukes, an indie crafted with considerably more heart than skill.
Far more than Peter, it’s his paterfamilias who deserved the brunt of Grodsy and Jacobs’s character-study concentration.
For a good stretch of its paltry running time, the film convincingly plays the part of a legit documentary.
At a massive 253 minutes, Peter Bogdanovich’s documentary certainly doesn’t lack for detail.