In the midst of Nicholas Ray’s bitter film noir, this thirty-second scene is striking for its unexpected intimacy.
Thrilling though it may be, Denis Villeneuve’s second adaptation of Frank Herbert’s novels presents war as a distressing yet inevitable reality.
Jonathan Glazer’s historical drama is a groundswell indictment of genocidal complacency. But should it win an Oscar?
The exquisite latest work from writer-director Andrew Haigh embodies the best in what queer commercial filmmaking might offer.
Thrilling though it may be, Denis Villeneuve’s second adaptation of Frank Herbert’s novels presents war as a distressing yet inevitable reality.
Jonathan Glazer’s historical drama is a groundswell indictment of genocidal complacency. But should it win an Oscar?
The exquisite latest work from writer-director Andrew Haigh embodies the best in what queer commercial filmmaking might offer.
Robert Downey Jr.’s upcoming remake of Alfred Hitchcock’s 1958 masterpiece is an act of corporate vandalism.
Nearly six decades after the release of Franco Zeffirelli’s 1968 adaptation, stars Olivia Hussey and Leonard Whiting are suing the film’s studio for sexual exploitation.
The Game of Thrones star has called the upcoming live action remake a “backwards” decision.
In the midst of Nicholas Ray’s bitter film noir, this thirty-second scene is striking for its unexpected intimacy.
Director Nicholas Ray eschews codes of patriarchy by comprehending and responding to his leading man’s beauty.
In the wake of a romantic rejection, I find myself remembering several great screen portraits of women who are grieving — from Esther Garrel to Barbra Streisand.
