Articles written on films showing in the Museum of the Moving Image's SEE IT BIG series, co-programmed by Reverse Shot editors Michael Koresky and Jeff Reichert

By Michael Koresky | February 21, 2014

With Vincente Minnelli, the idea of cinema as painting is not merely a description but a totalizing force and a thematic preoccupation.

By Ashley Clark | February 6, 2014

Scorsese and Lumet, making the first and only movie musicals of their respective careers, would use the genre as a lens through which to present lively, fantastical, and critical takes on the city both men called home.

By Genevieve Yue | January 20, 2014

For those weaned on the cropped and cluttered television version of The Sound of Music, the widescreen view on film, in its full form, is like a breeze of crisp Alpine air.

By Michael Koresky | January 12, 2014

Spielberg’s most naturalistic, emotionally penetrating work was made in the 1980s with cinematographer Allen Daviau, who shoots with a devotional warmth rarely seen in films as scrupulously designed as Spielberg’s.

By Fernando F. Croce | December 13, 2013

Stanley Cortez’s cinematography is the glow of unbalance and neurosis, of fissures widening across psyches.

By Max Nelson | December 6, 2013

The four films that Eric Rohmer made with cinematographer Nestor Almendros between 1967 and 1972 are the major works of the director’s Six Moral Tales.

By Julien Allen | October 23, 2013

Reinstating Halloween from the nation’s living rooms to the big screen where it really belongs, gives audiences a clearer look at what makes a consummate frightener.

By Max Nelson | September 27, 2013

Coming to Michelangelo Antonioni’s L’avventura today means having to strip away a great many preconceptions.

By Michael Koresky | September 13, 2013

For a film so widely beloved, Singin’ in the Rain is truly mischievous, the ultimate expression of a genre that is more about spirit than cause-and-effect narrative relations.

By Adam Nayman | July 23, 2013

In addition to being the most visually striking of Anderson’s six movies to date, There Will Be Blood might be the most visually striking American feature of the last decade. Or two, or three.

By Nick Pinkerton | July 19, 2013

Studio head William Fox bet the farm on The Big Trail. It was one of only a handful of features shot on 70mm Grandeur film, a.k.a. Fox Grandeur, an early widescreen process which had only been in use for about a year.

By Eric Hynes | July 18, 2013

The 1980s were rife with cinematic Trojan horses that proved more troubling and complex than their packaging, or pop cultural context, would indicate.

By Ashley Clark | July 12, 2013

Within the strict temporal and location confines of Do the Right Thing lies a work concerned with tackling the biggest of American themes—race relations, ambition, urban survival, economics, violence, and liberty—on a microcosmic scale.

By Julien Allen | June 21, 2013

Rivette’s ordination of Journey to Italy as the first modern film is, in a philosophical sense, paradoxical, because in fact it is modernity itself which is being shunned, or at best broken down and humanized, by the film.