Jeff Reichert
Lawrence is pretty good, but it doesn't matter, because to paraphrase Marge Simpson when talking about music, The Hunger Games is none of my business.
The inimitable Terence Davies has an animated chat about time and memory, T.S. Eliot and Alec Guinness, the terror of being alive and the special magic of American musicals on the occasion of the U.S. release of his latest film, The Deep Blue Sea.
John Carter never had a chance. Weeks before the film was released, reports of its impending flameout trickled into trade publications.
Icelandic comedian and current mayor of Reykjavik Jón Gnarr (Gnarr, now available on VOD) talks to host Eric Hynes (and a few random New Yorkers) about taking his job seriously, becoming a target rather than an assassin of derision, and why Rudy Giuliani was full of crap.
If you’ve ever pondered the daily existence of a pedophilic predator who keeps his beatific ten-year-old sexual object locked in a special basement room—what he looks like, what he eats, what television he watches—Markus Schleinzer’s Michael might just be the film for you.
Actress Greta Gerwig talks to host Eric Hynes about making a career for herself, the necessary insecurities of art, and the perennial choice between playing chameleon or movie star.
Even if the film does rely somewhat too heavily on Radcliffe opening doors and lighting candles at the expense of deepening its world for a more free-floating dread, it must be acknowledged that it’s often scary as all get out.
This is consumption not for pleasure or taste, but to achieve the most meager of sustenance. The Turin Horse repeats this routine with each new day, each time with the cadence and solemnity of a religious rite.
One of the problems with found footage movies like this one has always been, and continues to be, the need to regularly re-establish the vantage point from which the images we’re watching are being captured.
Liam Neeson has a very particular set of skills, skills he has acquired over a very long career. These include being an authentic hulk: before he worked with Steven Spielberg and Atom Egoyan, he did background-brute duty in Krull and The Delta Force.
The hysterical acrobatics of 1Q84 reek of an author trying to recapture magic, but, having read too many of his own reviews, failing. For those seeking to recapture the Murakami that wowed in the 1990s, Tran’s sensitive, singular adaptation of his small, lovely book isn’t a bad place to go.
Rosi’s clearly spent some time pondering documentary strategies and avoids conventional solutions to let his film breathe.
Most people who pay top-dollar to see Brad Bird’s Mission: Impossible—Ghost Protocol in IMAX will likely never notice that, as the film sprints along, the size of the image changes with some regularity.
Legendary actress Charlotte Rampling and director Angelina Maccarone sit down by the fire with host Eric Hynes to talk about the risks and revelations of big screen exposure in their unique documentary portrait, Charlotte Rampling: The Look.
How are movies meant to be watched? The question inevitably, frustratingly, then raises a second question: What is a movie?
You’ve seen a movie inspired by Lawrence of Arabia, no doubt. You may well have seen a movie that parodies it, a sincere form of cinematic flattery. You’ve certainly seen bits and pieces replayed in every Academy Awards montage. But if you haven’t seen Lawrence on the big screen, then you just haven’t seen it all.
Todd Rohal and his Catechism Cataclysm stars, Robert Longstreet and Steve Little, hit the high seas with the Reverse Shot team.
Host Eric Hynes and filmmaker Alma Har'el (of the singular doc-musical Bombay Beach) stroll past the skateboarders and bubble-blowers of New York's Central Park to discuss the spectacle of bodies in motion and documentary filmmaking as an act of creative collaboration.
For our thirtieth symposium, we asked our writers to consider at length the movie that they believe to be the worst in a single filmmaker’s career. However, “worst” could be applied in any way our writers interpreted it.
Anything Else has been labeled by some as an attempt on Allen’s part to bring his artistry to a more youthful market, but I wouldn’t give him that much credit for business savvy, or interest in much of anything that’s happened past the 1950s.