Will You Be There

Feb 16, 2018 — “The responsibility of being a gay film critic,” writes Michael Koresky, “to borrow a phrase from the great Robin Wood, is to be honest about your responses as an individualized viewer, and to balance questions around identity with a film’s...

Feb 12, 2018 — Mexican filmmaker Guillermo del Toro shares heartfelt appreciations for eleven of his favorite films in the collection.

Nov 13, 2017 — Angela Watercutter’s interview with Steven Soderbergh is actually a sidebar to her piece for Wired on the making of Mosaic—not the browser that put the World Wide Web in the global spotlight back in 1993, but the iOS app that...

Oct 1, 2017 — “Having placed second in Toronto’s People’s Choice Awards, James Franco scored his first big outright win as a director, his The Disaster Artist scooping Saturday night the 65th San Sebastián Festival’s Golden Shell, the top plaudit at the highest-profile film...

Sep 29, 2017 — “A ravishing visual colossus, Blade Runner 2049 more than lives up to its predecessor’s legacy as a groundbreaking mixture of sound, images and mood,” begins Screen’s Tim Grierson. “This long-anticipated sequel’s screenplay sometimes struggles to keep pace, but director Denis...

Aug 15, 2017 — Walter Matthau solidified his reputation as a formidable comedic force in this delightful Cold War espionage romp.

Aug 4, 2017 — “In an unusual bit of programming synchronicity,” writes Ben Kenigsberg in the New York Times, “IFC Center will show High Plains Drifter—one of Clint Eastwood’s earliest directorial efforts, in which he casts himself as an amoral stranger who agrees to...

May 30, 2017 — In his brilliantly inscrutable debut, Apichatpong Weerasethakul blends documentary authenticity with wild flights of imagination.

May 22, 2017 — Yorgos Lanthimos’s The Killing of a Sacred Deer “makes the absurd, amazing The Lobster seem like a warm and cuddly experience by comparison,” declares Jessica Kiang at the Playlist. “A film of clean hands, cold heart, and near-Satanic horror, it...

Jan 13, 2014 — With economy and panache, Michael Mann established his existential crime drama style with this breakthrough first feature.