Rarely do I watch a contemporary film, even those I enjoy, without once thinking, "If only the shot-caller knew that they didn't have to make a cut," or at ...
Displaying a transparency that few filmmakers of his fame and / or caliber would even bother with, Steven Soderbergh has, for a couple of years, been keen o...
In-between our end-of-year recaps and beginning-of-year anticipatory lists, let's take a moment to look at classics once again heading our way in 2016. (Dep...
More than a year-and-a-half since news of its development first broke, Sylvain Chomet's new film The Thousand Miles is about to move forward. Reportedly a c...
No film's legend is quite as strong as The Day the Clown Cried's, to the point that minor bits and pieces caused a stir when they emerged two-and-a-half yea...
As if Radiohead's unused Bond theme wasn't sufficient, here's a second Christmas present: Quentin Tarantino and Paul Thomas Anderson sat down in the former'...
Say what you will about Michael Moore — as if it hasn’t already been said, and not at all from a single side of the two-party battle line — but the man knows ho...
Quentin Tarantino’s love of genre cinema manifests itself in retention and expansion: while he understands that the homaged works were often built to hit a base...
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 the year-end catch-ups are done and the paint's still wet on your 2016 viewing log, is there any better way to begin twelve months of movies than Orson...
