What we need is the Broadcast News version of The Women.
This is not meant to be an overview of Paul Newman’s career, or even a list of favorite performances.
Episode 3 marks the first time we’ve started recording under our new name.
By this point, I think we could be discussing Godard for all I remember.
The drinking continues. The arguments get louder. We get worse. Sigh.
As the debate starts, I’m thankful that Jim Lehrer is moderating.
Ironically, I watched “Six Months’ Leave” for the second time the night before I learned of David Foster Wallace’s death.
Clark Gregg is in way over his head.
In terms of style, I have to give it to Obama.
These videos maintain M83’s underlying sense of sadness and longing.
Lil Wayne’s voice makes him (I’ve said this before, and I’ll say it again) the Stephen Malkmus of hip-hop.
The problem with Gomorrah isn’t that it feels incomplete or underdeveloped.
Hello and welcome back to the brand new season faithful non-listeners!
So, a “proletariat trilogy” from the eighties by a Finnish director? It doesn’t sound too delightful, does it?
The adjective “nihilistic” and its vague synonyms are all too frequently attached to opinions of David Fincher’s extraordinary film.
Both The Headless Woman and Tony Manero are staggering in different ways.
What makes Kelly Reichardt’s Wendy and Lucy so haunting is mostly ineffable.
The old saw about how many words an image speaks—do you add or multiply when there’s a few of them in a row?
Claude Chabrol knows this territory and how to run it on film.
Happy-Go-Lucky works because the outlines are banal but the performances are phenomenally lived-in.