Halloween Ends arrives like the undercooked dessert of a three-course meal nobody much enjoyed—but what garnish these John Carpenter scores were! Unlikely as i...
After years of working with someone like Werner Herzog, it seems you deserve some rest—especially after films as spectacular as Aguirre: The Wrath of God and F...
Some wounds don't heal. Not with time. Not with a mythical lake of water with the power to mend all ailments. And while we can try to forget, the mind will alw...
Before he's seen in Terrence Malick's The Way of the Wind––which will hopefully (maybe) arrive next year––Ali Suliman leads the acclaimed drama 200 Meters. Mar...
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
NYFF Revivals concludes with restorations of Edward Yang's A...
Note: The following review contains spoilers for Halloween Ends.
This time last year, while doing press for his rather dreadful Halloween Kills, director Da...
Canada’s weirdest filmmaker, Guy Maddin has crafted a body of work since the 1980s that first comes off as classical-cinema homage but, looked at deeper, is ra...
If it quickly emerged as a consensus-favorite doc of 2022, thank Laura Poitras: sometimes it takes a real filmmaker to rejuvenate collective interest. All the ...
Welcome to The B-Side, from The Film Stage. Here we talk about movie stars and directors! Not the movies that made them famous or kept them famous, but the one...
Claire Denis has had a busy year. Her two films, Both Sides of the Blade and Stars at Noon, premiered at Berlinale and Cannes, respectively. Blade earned the S...