The Criterion Collection
Sep 8, 2015 — Brian De Palma magnifies the pleasures and perils of Hitchcock and toys with the viewer’s spectatorship in his sly and scary horror masterpiece.
In Theaters
Sep 4, 2015 — Repertory PicksLook what’s on the cover of Pasatiempo, the Santa Fe New Mexican’s weekly arts magazine, this morning! Robert Montgomery’s brilliant if underseen 1947 noir Ride the Pink Horse is screening tonight at the city’s Jean Cocteau Cinema, to coincide...
Short Takes
Sep 3, 2015 — Wes Craven, who died this week at age seventy-six, was a horror master with few equals in contemporary American movies. The director of A Nightmare on Elm Street and Scream may not often be spoken of in the same breath...
Short Takes
Aug 5, 2015 — Night and the City was made in 1950, under circumstances almost as tense as those in the film. Knowing he was about to be blacklisted during the Communist witch hunts of the McCarthy era, director Jules Dassin fled to London,...
Aug 3, 2015 — On film noir’s unparalleled roster of resonant titles—Kiss of Death, Out of the Past, and Where Danger Lives, to name three—none is more emblematic or iconographically cogent than Night and the City. Juxtaposing two of noir’s essential, virtually ontological qualities,...
Jul 30, 2015 — It is now thirty years since the release of Stephen Frears’s film, which was both a product of and a response to the social and political landscape of 1980s Britain and depicted the lives of Pakistani immigrants with wit and...
Jul 6, 2015 — The Killers (1946) is exemplary film noir from Robert Siodmak, who, on the strength of three films—this, Phantom Lady (1944), and Criss Cross (1949)—stands beside his fellow European exiles Fritz Lang and Otto Preminger as one of noir’s crucial directors....
Features
May 7, 2015 — Movie comedies about moviemaking through the decades
May 1, 2015 — In his first feature, Jean-Pierre Melville found subtly radical ways to adapt Vercors's underground French novel about quiet resistance against the German occupation.
Apr 14, 2015 — Before he turned Vienna into a labyrinth of shadows with The Third Man, Carol Reed brought film noir to Belfast for this stylishly fatalistic tale of a man caught up in political violence.