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

Biggest Critical Head-Slapper, Worst Opening/Closing Scene, Worst Font, Most Defensive Director, Biggest Favor to Critics, Best Supporting Actress, Best Bad Sex, and much more

Dallas Buyers Club, Only God Forgives, American Hustle, Touchy Feely, This Is the End, The Counselor, Star Trek Into Darkness, At Any Price, The Way Way Back, The Family, Admission

To the Wonder, Before Midnight, Inside Llewyn Davis, Museum Hours, Like Someone in Love, Frances Ha, Post tenebras lux, Viola, Beyond the Hills, The Act of Killing

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

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.

The Tenant; Burn, Witch, Burn; Tourist Trap; Trilogy of Terror; Ganja and Hess; Dead of Night; The Blair Witch Project

Magic Mushroom Mountain Movie, Around the World (aka Speedy Speedy California Sky), Liahona, The Invisible World, Movement in Squares, Figure-Ground, murmurations, Falling Notes Unleaving, Ten Notes on a Summer Day

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.

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

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.

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.

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.