The head of Karl Marx glooms over Chemnitz, Germany -- figuratively, as this city was once part of the Eastern Bloc, formerly known as Karl-Marx-Stadt, and lite...
Welcome, one and all, to the newest episode of The Film Stage Roundtable, a spin-off podcast from the madmen who bring you The Film Stage Show. On this show...
Quentin Tarantino's brand of fetishism -- the non-foot kind, I mean -- is, in some part, an exploration of the cinema on a genre-by-genre basis, and so his ...
An introductory paragraph for director-writer-star-producer Tommy Wiseau seems redundant, pointless. He is a towering figure in the canon of So-Bad-It's-Goo...
After an initial green band trailer for André Øvredal's Trollhunter follow-up The Autopsy of Jane Doe, we now have a dissection with a little more bite in t...
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repe...
Ken Loach has spent the last half-century crafting iconic films with a push for social issues. This year he became only the 9th director to earn a second Pa...
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you'd like to submit a piece for consi...
That The Accountant is written by Bill Dubuque, the same man who gave us The Judge, makes so much sense, and about halfway through it becomes clear how far this...
From the moment an electric guitar's riff introduces heroine and painter Katsushika Ōi (Anne Watanabe) in 1814 Edo, Japan, Keiichi Hara's Miss Hokusai clearly w...
