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

Each new decade lays its own claims to surrogacy over the global village. If ever there was a movement to locate it firmly, Kill Bill: Vol. 1 should be the standard-bearer for the first decade of the 21st century.

"Well, I suppose in a certain way I was very conscious that I wanted to make films—I think I knew I wanted to be a filmmaker well before I had the notion of what making films was even about."

On Olivier Assayas's first four films, Disorder, Winter’s Child, Paris Awakens, Une nouvelle vie

Project for a New American Criticism, Or: How We Learned to Stop Worrying and Hate the War

For those familiar only with 1941 for its reputation as a misfire of epic proportions and disastrous critical reception, it might seem ludicrous to assert that the film somehow manages to speak soberly and presciently to certain political realities of life during wartime.

Japón is perhaps the most original and striking debut feature I've seen in the last half-decade or so. It has the feel of a first film that came out exactly how its director wanted it to.