High Time

May 9, 2005 — This seminal documentary conveys the particular seductiveness and resonance of the dream of going pro for two talented Chicago teenagers.

Apr 25, 2005 — Andrzej Wajda’s first feature film marks the beginning of the Polish School, the paradigm of Polish cinema that arose from the political and cultural thaw of the mid-1950s.

Jan 17, 2005 — Jacques Becker’s genius is to focus resolutely on what comes before or after or falls in between the decisive actions: it’s a crime film where we learn how gangsters brush their teeth.

Jan 10, 2005 — Seijun Suzuki's penultimate film for Nikkatsu is a subversively funny account of the making of a model fascist.

Dec 6, 2004 — It’s hard to believe that M was made in 1931. If we allow for the fact that it’s in black and white, it is more engaging to the eye, more incisive in its irony, more firm in its grasp of...

Aug 2, 2004 — This kinetic and ineffably voluptuous musical is the happiest and most exuberant ripple in Jean Renoir’s career as a river of personal expression.

Jul 19, 2004 — In Yasujiro Ozu’s hands, the extended-family drama widened its focus to encompass friends, neighbors, and employers.

Jul 19, 2004 — Marcel Carné's third feature is as epochal as any film made in France in the 1930s, exemplifying the style known as “poetic realism.”

Jun 21, 2004 — Nouvelle vague euphoria was at its height when Jean-Luc Godard made his enormously clever third feature.

Mar 15, 2004 — This Japanese classic’s guiding passion is hunger, and its central image—a gaping black hole in the earth—is that of an all-consuming maw.