Suspicion

Mar 9, 2015 — François Truffaut’s adultery drama is at times corrosively funny and at others frighteningly tense, but it’s always incisive and humane.

Apr 9, 2013 — This review by film critic Janet Maslin originally appeared in the December 27, 1991, edition of the New York Times, and appears by permission of the author. Naked Lunch, adapted by the dauntless David Cronenberg from William S. Burroughs’s 1959...

Aug 31, 2011 — French sociologist Roger Caillois proposed that every form of human recreation could be placed somewhere on a continuum between two terms: ludus and paidia. The first of these represents games defined almost wholly by their rule systems. Crossword puzzles and...

Feb 22, 2011 — It wasn’t intended. No one could have predicted it. But Sweet Smell of Success turned out to be a terminus where several movie genres and subgenres converged and curdled, producing a uniquely delicious perfume of everlasting cynicism. Inhale deeply. And...

Jun 22, 2010 — In the autumn of 1989, the Iranian magazine Sorush printed a story about an unusual crime: a poor man had been arrested for impersonating a celebrated film director, Mohsen Makhmalbaf, to a middle-class family in northern Tehran. Although the accused,...

Jul 27, 2009 — We enter Roman Polanski’s harrowing Repulsion as if in the middle of the story, but it’s actually the beginning of the end. Polanski unceremoniously drops us into a beauty salon where a pampered matron takes to task our heroine, a...

Sep 15, 2008 — Max Ophuls’s ingenious tale of Viennese cafe society conveys both the transience of individual passions and the durability of passion itself as a motivating force in human behavior.

Feb 19, 2007 — A powerful document of anti-Nazi propaganda, Powell and Pressburger’s war drama consolidated their partnership and showed a way forward for British cinema.

Jul 11, 2005 — The trickily variant sensibilities of the three daydreams and their long duration are what mark Unfaithfully Yours as a stray modernist object.

Apr 23, 2001 — A majestic synthesis of disparate forms, Sergei Eisenstein’s final film seems to be as much a ballet or a moving painting as it is a movie.