review
By Daniel Witkin | August 26, 2015

Though the film’s tonal range might be shifted toward the ambiguous and threatening, Perry’s dark humor remains in effect, and his characters’ ominously suggestive utterances harbor comic irony no less than menace.

video
By Michael Koresky, Jeff Reichert | August 26, 2015

The ghosts of summers past haunt 2015 in this action-packed, star-studded new Reverse Shot Movie by Jeff Reichert and Michael Koresky.

feature
By Matt Connolly | August 20, 2015
See It Big

Directors Robert Wise and Jerome Robbins (who translated his original stage choreography to the screen) fill their 70mm frame with ecstatic movement, operatic emotion, and brilliant color: it’s a dazzling Hollywood spectacle yet it still retains a remarkable delicacy and texture.

review
By Jeff Reichert | August 14, 2015

In constructing his film in this fashion, Sauper reminds that “characters” are the provenance of fiction, while “people” should be the stuff of documentary films. Thus he doesn’t make an effort to stretch and shape his subjects’ lives to conform to preconceived narrative expectations.

review
By Vadim Rizov | August 14, 2015

Even if the film builds to a shrug, Baumbach is working at an increasingly sophisticated craft and dialogue level from moment to moment. Endless amounts of near-uniformly quotable dialogue come out at a clip only a shorthand writer could keep pace with.

feature
By Eric Hynes | August 12, 2015
Festival Dispatch

What started in 1994 as a two-day, modestly attended, parochially English affair has, in the decades following, tripled in length, welcomes more than ten times the number of visitors, and is now a tent-pole event on the international documentary industry calendar.

review
By Jeff Reichert | August 11, 2015

In a moment when documentary film seems back under the thrall of all things cinema vérité, How to Smell a Rose is a terrific reminder that vérité is not merely the avoidance of interviewing subjects on camera, the eschewal of tripods and lighting, or acting the proverbial “fly on the wall.”

feature
By Nick Pinkerton | August 7, 2015
At the Museum

The wide-gauge format 70mm reached its greatest popularity in the 1950s amid a boom of new innovations intended to reverse the fortunes of foundering Hollywood studios; for a time, they even appeared to have done the trick. But every great reign is followed by an epoch of decadence . . .

feature
By Jackson Arn | August 7, 2015
See It Big

Brainstorm is a special-effects film in the sense that it contains more than its fair share of visual trickery but also because it’s concerned with the people and institutions that develop that trickery.

interview
By Daniel Witkin | August 5, 2015

“We were living everything at the same time and with the same intensity, without priorities or differences—a photograph by Frank or Walker Evans would have the exact same power for us as a film by Godard or John Ford or a song by Wire, the Clash, or Gang of Four.”

feature
By Michael Pattison | August 3, 2015

Though Sergei Loznitsa has made eighteen films since 1996, delineating a logical arc in his career—as one might have attempted to doduring a full retrospective at Crossing Europe Filmfestival Linz this past April—isn’t easy.

review
By Jeff Reichert | July 29, 2015

Were these poses merely all part of a larger, calculated performance Marlon gave in service of the role of his lifetime: that of “Brando”?

review
By Michael Koresky | July 24, 2015

Phoenix is a gorgeously odd film, a quietly symphonic elegy fueled by a magnificently preposterous plot that ends up as something like a cross between Roberto Rossellini’s Stromboli and Hitchcock’s Vertigo—but communicated through the specific experience of Jewish-German identity.

review
By Leo Goldsmith | July 22, 2015

All plot synopses are necessarily attenuations, but for Horse Money any summary feels especially futile, or even violent, a crude reduction of its complex network of impossible geographies, fuzzy memories, and jumbled chronologies.

review
By Michael Koresky | July 20, 2015

Woody Allen’s latest, Irrational Man, is, whether one accepts or rejects its brutal fatalism, a totalizing aesthetic experience that provides evidence that this seventy-nine-year-old is a craftsman we should still be paying attention to.