There has never been a less auspicious time to make a “cop movie.” As scrutiny abounds from both within (content warnings on streaming services) and externally...
German author Erich Kästner is most celebrated for the children’s novel Emil and the Detectives, but he was one of the more renowned men of letters of his day,...
In 1953, Chris Marker and Alain Resnais released Statues Also Die, a key work in their fledgling early careers that focused on traditional African art and its ...
First paragraphs of Hong Sang-soo reviews often dwell on the Korean master’s penchant for self-repetition, soothing readers that narrow expectations will be fu...
An aura of pure eccentricity billows off the new film by Québécois provocateur Denis Côté, like a fug of stale-smelling nitrous oxide. Akin to his prior work o...
Wild Indian is a bold, anger-wreaked character study, creating a deeply unsympathetic antihero who nevertheless inspires some pity and understanding. Although ...
One of the most succinct, yet heavily weighted lines of dialogue in cinema history is a three-syllable call to death: “Time to die," as Rutger Hauer’s Roy Batt...
Any newly-released film, book, or piece of media that begins its story in the latter months of 2019 is signifying something very clear: trouble like we’ve neve...
When observing global cultural differences, some of the most telling points of distinction are seen in how different societies treat death. Beyond this, the on...
There’s a certain aura that some people who’ve lived a lively, eventful life possess––a rare shimmer of self-belief and authority. Errol Morris’ new documentar...
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.
