Following in the footsteps of casas Coppola and Makhmalbaf, The House Next Door is proud to present a genuine family affair.
Emblematic of this film’s success is the last scene, which follows the book exactly.
This podcast commemorates the one-year-anniversary of Preston Miller’s Jones.
Van Heflin never became a big star because he was too honest an actor.
As good as Michelle Williams is here, the true star of Wendy and Lucy is Kelly Reichardt’s exquisite filmmaking.
Even in the comic universe, the Punisher struggles to fit in with super-heroes and regular villains.
John Michael Hayes was one of the best screenwriters of the 1950s and ’60s.
A lot of Transporter 3 is wasted on talk and character bonding between Jason Statham and Natalya Rudakova.
In 13 films, Woody Allen celebrated and sometimes assailed Mia Farrow, and they both emerged victors, artistically, at least.
Grassroots with a sound system is already a bit of a noise maker.
Here’s the thing about the Broken West: They’re one of the most derivative bands working today.
The flaw in Clint Eastwood’s iris.
Milk denies and destroys the complexity of life as it is really lived.
Milk is mainstream filmmaking at its finest, and a perfect wedding of subject matter to director.
Perhaps no director is quite as under-the-radar termitic as Howard Hawks.
The filmmakers rest their depressive character study on the able shoulders of actor Michael Rapaport.
The day I interviewed Kuras and Thavisouk Phrasavath, congratulations were in order.
We finally managed to get Eric Kohn on the podcast after food poisoning (mine) and poor planning kept him off.
The exuberant Carole Lombard became emblematic of the whole screwball comedy genre of the 1930s.
“Single Ladies” is all-hook, moving from one high-energy Beyoncé shout to another, never really letting up.