Since the beginning of Febraury, Wagstaff and Jeffrey Hill have been writing up various samurai movies on their blog, Liverputty.
This 5 for the Day focuses on moments of sexual/romantic connection between two characters.
No surprise to read that Eric Rohmer was an early patron of the French filmmaker Jean-Claude Brisseau.
“Woman King” was strengthened by the central performance of Tahmoh Penikett.
Whitney Balliett was less a straight-ahead critic than a combination analyst, social historian, feature reporter, and sketch artist.
We must taste really, really good.
Even the flashback this week was informative.
We’re now seeing a variety of films borne of the sentiments of our own time.
With Extras, co-creators Ricky Gervais and Stephen Merchant may have cracked the second novel problem.
We just came through a pretty tumultuous year for movies, and for the media and the entertainment industry in general.
Judy Davis is a demanding, major artist, a virtuoso who plays neurotic symphonies on her awkward, nervous energies.
The film is a jumbled account of the short life and photogenic hard times of the first Andy Warhol superstar.
In Sergio Leone, Morricone had a boss and partner who reserved a prominent place in his films for music.
Here are five double bills I would program if I had my own repertory house.
Smokin’ Aces is a handsome and entertaining 108 minutes, but it’s not a good movie, and it’s difficult to get at why.
Trouble Every Day aches with spiritual dread.
David Lynch’s voice has a diminutive, nasal inflection. You can hear the Pacific Northwest’s gentility and echoes of a woodland youth.
Most movies operate under the the implied understanding that the camera represents “us,” the viewer.
The season, so far, has given some of the show’s less-heralded players some good material to work with.
These films are not in production, except in my imagination.