“I'm going to miss being disreputable,” Ving Rhames’ Luther Stickell grumbles to Tom Cruise's now-iconic superspy after their first of many impossible missions...
When I spoke to Alan Rudolph a couple months ago, he confirmed that Criterion had sought to release his (incredible, essential) Remember My Name but were held ...
Ever since Turn on the Bright Lights debuted in the summer of 2002, Interpol frontman Paul Banks has been the epicenter of cool. Trying his hand at a variety o...
Note: This review was originally published as part of our 2024 NYFF coverage. The Damned opens in theaters on May 16.
Robert Minervini’s The Damned&nbs...
Frequent festival-goers learn not to expect much from opening films. Quality is but one of many factors that lead to the selection for this symbolic slot. In o...
Having found success with Howard Hawks' Rio Bravo and an IB Technicolor print of Marlon Brando's One-Eyed Jacks, it seemed only logical to play the middle grou...
As legacy horror franchises attempt to worm their way back into the public imagination with largely unsatisfying reboot-sequel hybrids, bringing characters old...
Perhaps no North American distributor does better to enrich film culture than Arbelos, whose major run of restorations continues with The Sealed Soil. Marva Na...
One of the best first features in recent memory, Sarah Friedland's wonderfully gentle Familiar Touch premiered at the Venice Film Festival where it picked up B...
It looks like Cannes was saving our most-anticipated premiere for last: it was just announced last week that Bi Gan’s sci-fi detective tale Resurrection has be...