By Michael Koresky | January 1, 2010

Looking back on this American masterpiece from a 2010 vantage point, we can now see this was a film released on the brink of major change, and that it managed to embody that change while remaining resolutely timeless and true to its maker’s spirit.

By Jeff Reichert | December 31, 2009

Malick generously reminds us that we’re all potential “others” depending on circumstance.

By Eric Hynes | December 29, 2009

It has remained one of the most shattering moviegoing experiences of my life. In my recollection, and that of many others, the film is the consummate tale of unconsummated love.

By Chris Wisniewski | December 28, 2009

In its technical precision, its loose, meandering dialogue-heavy structure, and its focus on self-conscious, aging Gen-Xers as they grapple with issues both mundane and profoundly philosophical, Before Sunset may be the perfect Linklater movie. But it isn't his alone.

By Genevieve Yue | December 27, 2009

Syndromes is like the fever dreams of an illness, or, perhaps more fittingly for Weerasethakul’s films and installations, the flushed cheeks and rampant fantasies of a love sickness.

By Jeff Reichert | December 26, 2009

The first decade of the 21st century, even with all the technological changes that have greatly expanded knowledge of our origins and pointed towards our potential futures, holds no monopoly on the great unending debate of what the word “human” means.

By Adam Nayman | December 25, 2009

Denis’s uncanny ability to frame and follow the human form, which makes her one of the cinema’s great sensualists, is complemented by a tendency towards an oblique political critique.

By Leo Goldsmith | December 23, 2009

The red balloon is beautiful, but empty. Its movement fascinates and seduces the camera; it’s elusive in its meaning as well as its motions, and its value is only certain in its aesthetic appeal. But this value should not be underestimated.

By Andrew Tracy | December 22, 2009

If The Son is the first among equals in the Dardennes’ remarkable body of work, it is because its dramatic crux most perfectly articulates the suggestively epic power ingrained in their determinedly and deceptively small-scale workings.

By Matt Connolly | December 21, 2009

The blustery banalities and sweeping assertions of the conventional historical epic give way here to the ominous, the ambivalent, and the particular.

By Kristi Mitsuda | December 18, 2009

Eternal Sunshine raises a sci-fi rumination on memory, love, and loss to the heady heights of modern masterpiece.

By Elbert Ventura | December 17, 2009

Relentlessly surprising, Kings and Queen was (now famously) made with Truffaut's dictum “Every minute, four ideas” as its animating principle.

By Andrew Chan | December 16, 2009

Yi Yi’s exquisitely balanced and inclusive portrait of middle-class Taipei seems designed to accompany its devotees like a talisman through the years, and to continually renew and complicate the feelings we invest in it.

By Damon Smith | December 15, 2009

No living filmmaker works more assiduously or successfully in such a concretely chronographic register, harnessing the sublime power of uncut duration to maximize the dramatic impact and metaphysical aura of filmed reality.

By Nicolas Rapold | December 14, 2009

Anderson’s micromanaged design, which he foregrounds so much more than most filmmakers, all but guarantees (for this viewer at least) that his movies fully emerge only upon the second viewing.

By Farihah Zaman | December 11, 2009

As always with Assayas, the camera is not merely a mechanical device, but a natural extension of the director’s eye. His writing is equally intimate and astute, providing us an immediate window into the kind of familial anecdotes and interactions that feel both mundane and revealing.

By Leah Churner | December 10, 2009

he core mystery of No Country for Old Men (both book and movie) is existential. The action may take place in a standing pool of blood, but the meat and gristle is the ugly side of surviving into old age: reckoning with cosmic disappointment from midlife to retirement.

By Lauren Kaminsky | December 9, 2009

Dante’s depiction of the Christian afterlife was not only for Italians, and Puiu’s film is hardly specifically Romanian: it’s a universal human parable of life, cowardice, kindness, and death.

By Chris Wisniewski | December 8, 2009

Cuarón's surprisingly bold aesthetic is self-consciously dazzling, but it can't be considered groundbreaking. The film's long-take, pseudo-verité style seamlessly marries Saving Private Ryan’s and The Son’s radically divergent takes on documentary-style realism.

By Michael Koresky | December 6, 2009

The House of Mirth is a lovingly petrified object, preserved in celluloid amber, perhaps even a cautionary tale, if we choose to see it that way. It is also pragmatic in its approach: the past is past, and it’s impossible to return to it, but we can learn from our mistakes in its recollection.

By Michael Koresky, Jeff Reichert | December 5, 2009

Many seem to think the aughts were a subpar decade for filmmaking, but that doesn’t alter the fact that, for most of Reverse Shot’s writers, it was arguably the most important in our development as thinkers and watchers