Wild

Jun 5, 2006 — Painful, beautiful, and discomfiting, Maurice Pialat’s coming-of-age drama remains as startling in its honesty, its unique mix of savagery and delicacy, as it was in 1983.

Apr 17, 2006 — Another movie, another cause célèbre: this mysterious film by Orson Welles has been dismissed as a disaster and hailed as a masterpiece.

Jun 27, 2005 — Like his earlier adaptations of Terence Rattigan plays, Anthony Asquith’s late work is bereft of heavy-handed directorial flourishes.

Jun 13, 2005 — Ernst Lubitsch was a big-city director. The historical dramas that he made in Germany in the late 1910s and early 1920s were known around the world for their distinctively urbane approach, focusing on the private lives of public people. This...

May 9, 2005 — Les Blank’s documentary examines the interaction of premodern tribal existence with European modernity, epitomized by a movie narrative about the invidious clash of brute nature and a singular ego bent on his own mission of cultural enlightenment.

Feb 14, 2005 — A touchstone of Jean-Luc Godard‘s political period, the film plays with the idea of recording working-class history as it is happening.

Dec 6, 2004 — In his first freestanding biblical epic, Cecil B. DeMille recognized and revered a profound quality in the American soul—its ability to leap over every contradiction through an invincible sense of its own righteousness.

Sep 13, 2004 — The following piece by Sony Pictures Classics cofounder and copresident Michael Barker, who picked up Slacker for Orion Classics in 1991, originally appeared in the program for the 2001 Austin Film Society event Slacker: A Ten-Year Reunion. What I’ve found...

May 9, 2004 — With his vibrant chronicle of an Oedipal revolt, Volker Schlöndorff captures the source novel’s singular recreation of the German past.

Feb 16, 2004 — In this quintessential noir, Samuel Fuller breaks with the Red Scare formula of his contemporaries by contrasting the faceless evil of Communism against the peccadilloes of the workaday American crook.