Few people have contributed more to cinema and cinephilia in the last 50 years than Dave Kehr. He’d have some claim to this title solely as a major critical vo...
You'd have to be very bad at interviews, or really just conversations, to not get something from Abel Ferrara, who's the perfect combination of endearing and p...
Raise the subject of documentaries about filmmaking and you'll probably first go to Hearts of Darkness: A Filmmaker's Apocalypse. Or the film you’re thinking a...
Perhaps no line of dialogue better encapsulates lived experience than this bon mot offered by John Huston’s Noah Cross: “Of course I'm respectable. I'm old! Po...
When people call music cinematic, I think they just mean it sounds like it could be in a movie. About which, fair: being in a movie would do so. But the term i...
I've spent my offline hours producing The Jag, a new play that runs from June 21 to July 6 at the Brooklyn Center for Theatre Research. Even without some of my...
The release of a new Tom Cruise film is less about the film than it is about Tom Cruise. Ceaseless junket and red-carpet interviews with supposed journalists w...
In a city where the rents are too high, the subways are too slow, and morale barely hovers above cope, repertory options might make such troubles worthwhile. S...
Amalia Ulman has followed El Planeta, one of this decade's most auspicious debuts, with the equal-parts caustic and sincere Magic Farm. With its limited releas...
Alexander Horwath's Henry Fonda for President stands among the most notable releases of a still-young year, is certainly the most lauded essay film in recent m...
