Criterion very ably honors the neurotic beauty of The Fugitive Kind, though new extras would’ve been appreciated.
Round and round Gillian Anderson’s Blanche DuBois goes, and where she stops, everyone knows.
Ashley has survived many ups and down, both personal and professional, in a career that’s spanned more than half a century.
Stole has a devoted cult following that dates back to the 1970s, when she became an outrageously wacky fixture in the trash comedies of John Waters.
Zachary Quinto brings a sulking but simmering aggression to Tom, played as a man who knows who he isn’t, but not who he is.
Broadway openings are like yellow-rumped warblers.
The great Tennessee Williams, unsurpassed poet of the theater and incisive chronicler of the human soul, was born 100 years ago this March.
Rose’s designs placed a strong emphasis on the silhouette.
Tennessee Williams and Company: His Essential Screen Actors is at its best when asking sensitive questions about individual scenes and moments in Williams’s plays.
It has enough flickers of brilliance to make it essential viewing for fans of its cast, Lumet, and/or Tennessee Williams.
Is it success or failure that Beautiful Darling is unable to dispel the cloud that still hangs over Candy?
The film provides Ellen Burstyn with a Very Special Awards-Bait Role as a dying opium addict.
Summer’s here, and the time is right for a summary of all things cinematically summery.