Almost nobody would've expected Ava DuVernay to become a leading fantasy filmmaker, yet the director's post-Selma path has been littered with one such proje...
If you know much of anything about Werner Herzog's approach to documentary narrative, you can probably guess the answer to what's asked at the start of a ne...
While we've long preferred to focus our energies on "film" in a defined category -- that which is created with the medium in mind, tends to follow its typic...
After decades of being neglected any true circulation within the United States, Eiichi Yamamoto's notorious animated feature Belladonna of Sadness (sometime...
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory...
When, only two days ago, we shared an extended, expansive podcast interview with Michael Mann, I made mention of his recent masterclass session at New York'...
It flew under the radar upon making appearances at various festivals, and it seems plenty likely to go unnoticed when finally released, small-scale, into th...
While I might find arguments about what does and does not constitute an "American" quality in cinema to be a bit tedious, I can't help but think Drew Morton...
One of our favorite scores from 2015 was Ennio Morricone's work on The Hateful Eight, a rich concoction that, as I said in my review, complements Quentin Ta...
There are very few Oscar players I want to hear from as much as Steven Spielberg, especially when he's campaigning for a picture as fine as Bridge of Spies ...
