Reverse Shot A different angle on moving images—past, present, and future

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.

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

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.

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.

Bigger Than Life is a film filled with contradictions, paradoxes and confusions of emotion and reason; indeed, these are part of what makes it big and ugly and beautiful as life, even in its outsized proportions.

How massive the landscapes and castle chambers are in Akira Kurosawa’s 1985 epic, and how small the people in them seem.

Bring It On: SEE Guilty Pleasure
Disaster: SEE Parallels (Historical): post-9/11 anxiety.

Best New York Times Ratings Explanation Capsule Review, Best Time Spent Watching Paint Dry, Clunkiest Denouement, Most Unexpectedly Haunting, The Trying-Too-Hard Award, Discovery of the Year, Most Infantilizing Indie Rom-Com Award, and more

Ted, Prometheus, Michael, Beasts of the Southern Wild, The Comedy, Bachelorette, The Hunger Games, Silver Linings Playbook, This Is 40, Anna Karenina, Ruby Sparks

The Deep Blue Sea, This Is Not a Film, The Kid with a Bike, Tabu, Holy Motors, The Master, Almayer’s Folly, The Turin Horse, Once Upon a Time in Anatolia, Lincoln

Fanny and Alexander is a celebration of the act of looking, in all its power to invent, animate, and destroy; it goes so far as to suggest that the things seen owe their qualities, their presence, even their existence to the seer.

The world in Suspiria is so threatening and unstable that colors glow with sinister intensity, the camera moves as if possessed, and natural sounds abruptly give way to jangly music—and that’s just the first minute or so.

Death is here something to be profoundly feared, something that can’t be quantified; the ghostly realm exists not as a concept but as a reality and an end point.

The Picture of Dorian Gray, The Innkeepers, The Vanishing, The Seventh Victim, Lips of Blood, Repulsion, Insidious