With Cobweb, South Korean genre stalwart Kim Jee-woon falls back on that old piece of received wisdom: “movie people, ain’t they crazy?” When in self-satirizin...
One of the most prized moments of Howard Hawks’ macho manifesto Rio Bravo is when Dean Martin’s Dude kicks back, gazes lightheadedly at the ceiling, and moseys...
The ensuing days after a romantic breakup, even if it isn’t a cataclysmic one, are an uncanny time. Perhaps once the spell of verbal conflict and sparring's ce...
If the death of cinema is imminent, at least Kleber Mendonça Filho can play it out with some vintage Tropicália. It’s becoming a nice leitmotif of the Brazilia...
To cinéastes fixated on tabulating statistics like sports fanatics, the Dardennes often come up as examples of unerring consistency, like a player with an impe...
Purchasing and shooting on celluloid film, especially in this age of closing processing labs, is expensive for large and smaller productions alike: the documen...
To be blunt about it, we’re reaching the sad, maybe inevitable stage where Beau Travail and its famous closing sequence are becoming subject to the dreaded “Se...
Just when you thought filmmakers and creators had exhausted everything worth saying in American high school-set comedies and thrillers, along comes Chicago-bas...
She Came to Me has designs on being a grand opera, but it’s definitely more of what the British call a panto. Opening at a swanky cocktail reception as a male ...
Nina Menkes’ bracing 1991 feature Queen of Diamonds is one of a group of notable films by female auteurs that have recently been restored and brought back into...
David Katz has been a freelance film journalist for over a decade. Born in Columbus, Ohio and raised in London, he primarily writes for the trade publication Cineuropa, but also loves popping up at The Film Stage from time to time.
