video

Interiors: today, Feb. 28, at 2 p.m.! In honor of See It Big: Gordon Willis, the Museum of the Moving Image screening series co-curated by Reverse Shot, Michael Koresky and Jeff Reichert here pay homage to the great cinematographer by focusing specifically on his work in Woody Allen’s 1978 drama Interiors.

symposium
By Graham Fuller | February 27, 2015

Since the committing of atrocities is rarely recorded and documentaries seldom show those that are—no one in his or her right mind would want to see them—it follows that fictional cinema’s representation of genocidal acts carries the ultimate burden of representation.

review
By Jordan Cronk | February 27, 2015

In the spirit of its forebears, Wild Canaries is gleefully antiquated, a fully dedicated neo-screwball effort as inventively constructed and effervescently acted as any modern genre exercise.

review
By Julien Allen | February 26, 2015

It's the tale of two men who are striving, against a background of fear, distrust, and discouragement, to work out what they want from each other and how to achieve it. And it's one of the most complex and beguiling cinematic love stories since Wong Kar-wai's turn-of-the-century monument In the Mood for Love.

symposium
By Adam Nayman | February 26, 2015

It’s merely a matter of circumstance that Shane was the first movie to get stretched out against its will, but it gives the film a double place in both film history and more specifically the history of the Western, as a movie widely regarded to be a thoroughbred of its genre was also a kind of guinea pig.

symposium
By Michael Koresky, Jeff Reichert | February 25, 2015

We talk a lot about how the camera moves through space, and the implications of those choices to move in or out or sideways, but it's rare that we just stop to consider the size and shape of the frame itself. And isn't this where every film starts?

symposium
By Imogen Sara Smith | February 25, 2015

When asked why he chose to make Playtime in 70mm—the first and only time he used the costly format—Tati responded that it was necessary to capture the scale of modern buildings, since he intended the décor to be the star of the film.

symposium
By Julien Allen | February 25, 2015

The 4:3 aspect ratio is often referred to as the shape of a conventional television screen, but when contemplating the work of Powell and Pressburger, there is a far more rewarding comparison to be made, which is with the shape of a traditional 19th-century Victorian theater stage.

review
By Jeff Reichert | February 24, 2015

Let us assume for an instant that perhaps Cronenberg is fully aware his satire is stale, that his critique of contemporary Hollywood lacks trenchancy. So what, then is Maps to the Stars up to? Is it an honest portrait of a family laid low by Hollywood’s dream machine?

review
By Danny King | February 24, 2015

The camera pummels forward through bombed-out walls and crumbling houses, tracing Hook’s movement, transforming Belfast into a maze—a torn city whose buildings and roads are intricately connected via shattered structures and wreckage-heavy corridors.

feature
By Justin Stewart | February 19, 2015
See It Big

The case for this New York is made straightaway, in one of the most ravishing opening sequences in all of cinema—Gordon Willis’s sublime black-and-white static shots of the city, scored to “Rhapsody in Blue.” Recognizable without being dully iconic, the images should muffle whatever resistance other-city loyalists might raise.

review
By Ashley Clark | February 19, 2015

Following 2013’s listless Oldboy, Da Sweet Blood of Jesus is Spike Lee’s second consecutive remake, following a nearly three-decade career during which he’s avoided them altogether. It is, narratively speaking, a largely faithful cover version of Bill Gunn’s 1973 cult horror film Ganja and Hess.

interview
By Eric Hynes | February 19, 2015

"Cinema is some kind of magical exercise that creates a world and draws the audience in, and they have to experience something emotionally, rather than something for journalists to discuss. I’m not making it to be a discussion piece."

feature
By Brendan Keogh | February 18, 2015
Touching the Screen

To play FIFA 14 is less to play at what it is like to “actually” play soccer, but instead focuses on mixing together a sense of actually playing soccer with a sense of experiencing soccer as it is most commonly experienced through the television screen.

video
By Eric Hynes, Jeff Reichert | February 17, 2015

In this Reverse Shot Talkie, host Eric Hynes and director Steve James emulate an episode of At the Movies to pay tribute to its hosts, Gene Siskel and Roger Ebert; Ebert's writing legacy; and James's documentary about Ebert, Life Itself.