The Last: Naruto the Movie

Sep 17, 2019 — Fusing the melodrama of Douglas Sirk and the ballyhoo of William Castle, John Waters’ sixth feature, Polyester (1981), was a departure from the scrofulous 16 mm mode of production he had made his cult name plying to midnight-movie crowds in...

Jul 11, 2019 — When we think of Ingrid Bergman, we may immediately call up images of her “you deserve this!” smile, or the indecision on her face in Casablanca (1942). There is a rare kind of suspense in watching Bergman’s face in flux...

Apr 15, 2019 — It’s one thing to have wild cinematic ambitions, and quite another to pursue them without a strong technical skill set and years of apprenticeship in the craft. But from the beginning of his career, the twenty-nine-year-old, mostly self-taught filmmaker Bi...

Apr 2, 2019 — Mike Leigh’s endless fascination with human behavior is palpable in every one of the films he’s made over the course of his nearly fifty-year career. With an acute sensitivity to rhythm, character, and setting, he extracts extraordinary moments from the...

Mar 21, 2019 — Repertory Picks Take Marlene Dietrich at the height of her stardom, stick her in tight quarters with fellow screen siren Anna May Wong, and surround them with a band of lowlifes, and you have the recipe for pre-Code Hollywood at...

Jan 3, 2019 — Repertory Picks Tomorrow, as part of its ongoing After Midnite series, the Coolidge Corner Theatre in Brookline, Massachusetts, will spool up a 35 mm print of Akira Kurosawa’s Yojimbo for a late-night screening. With this 1961 classic—made after he had...

Jun 26, 2018 — John Waters’ favorite among his early works is both an assault on political correctness and a no-holds-barred expression of gay militancy.

Jan 21, 2014 — Bigger is better in Stanley Kramer’s crazily crammed slapstick epic, a timeless showcase for comedy genius.

Nov 20, 2012 — Michael Cimino’s visionary western is a superbly realized account of a shocking real American tragedy.

Sep 26, 2012 — Countercultural icons Paul Bartel and Mary Woronov makes square subversive in Bartel’s cult classic.