Young as You Feel

Sep 4, 2018 — Natalie Portman sings, Willem Dafoe paints, and Frederick Wiseman heads to Trump country.

Jul 2, 2018 — Josef von Sternberg may have been one of cinema’s original micromanagers, but his films are testaments to longstanding collaborations with brilliant artists and technicians.

May 8, 2018 — In his uncharacteristic final masterpiece, the great Hollywood melodramatist Frank Borzage approaches the shadowy violence of film noir with his unique brand of romanticism.

Apr 17, 2018 — “Almost every Steven Spielberg movie has its antecedent in a TV show, a movie serial or a comic book,” wrote Michael Sragow when he spoke with Spielberg for Rolling Stone in 1981. “The one he feels [Raiders of the Lost...

Mar 15, 2018 — New York. Film Forum’s series, entitled simply Michel Piccoli, opens tomorrow and runs through March 22. “It’s surprisingly hard to think of an American equivalent for Piccoli,” writes Mike D’Angelo in the Village Voice. “He never exudes the wised-up, electrifying...

Mar 9, 2018 — Ryan Coogler is on the cover of the new March/April 2018 issue of Film Comment, and Devika Girish writes about how “the mythology of Black Panther is keenly attuned to the present even as it undoes the past: it is...

Feb 23, 2018 — “Eighteen years young and still eagerly nudging audiences toward discovery, Film Comment Selects is a film series as pointed act of correction,” writes Ed Gonzalez at the top of his overview in the Village Voice of the series opening today...

Feb 19, 2018 — Jonathan Demme put an uncompromisingly feminist spin on the law-enforcement procedural with this wildly successful, Oscar-winning drama.

Jan 24, 2018 — We begin with Rolling Stone’s David Fear: “Pick any random song by the Coup—we suggest ‘Fat Cats, Bigga Fish’ from their 1994 album Genocide & Juice, or ‘My Favorite Mutiny’ from 2006’s Pick a Bigger Weapon—and you'll get complex anti-corporate...

Jan 20, 2018 — “American Animals is nothing if not a movie that arrives at some very simple truths in the hardest way possible,” writes IndieWire’s David Ehrlich. “A slick, well-acted, and intensely self-reflexive docudrama from the director of The Impostor, [Bart] Layton’s first...