Viduthalai: Part I

Apr 22, 2013 — A vivid portrait of a ruthless murderer, Laurence Olivier’s Technicolor Shakespeare adaptation is back in a killer restoration.

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...

Jan 8, 2013 — The two movies that opened the door to “youth culture” in Hollywood, The Graduate and Easy Rider, were milestones, to be sure. But can it really be said that they were milestones in the art of cinema? “I think The...

Dec 11, 2012 — Cinema is both an educational tool and a vessel for kinetic, avant-garde expression for filmmaker and activist Godfrey Reggio.

Nov 14, 2012 — Jean Luc Godard’s exuberant, multipronged attack on the bourgeoisie is both theater of the absurd and political horror.

Nov 5, 2012 — The following originally appeared as the afterword to the 2003 New American Library edition of the novel Rosemary’s Baby. Having observed that the most suspenseful part of a horror story is before, not after, the horror appears, I was struck...

Sep 25, 2012 — No mere jigsaw movie, David Fincher’s thriller is also a nuanced character study, a satire of corporate culture, and a film about filmmaking.

Jul 6, 2012 — Samuel Fuller wrote this extraordinary “interview” piece shortly after White Dog was completed. It appeared in issue 19 of the journal Framework in 1982, with this introduction: “The director of Paramount’s White Dog interviewed the title actor of the movie...

Jun 25, 2012 — For this Edinburgh-based writer and filmmaker, Hitchcock’s Scottish caper is both fantasy and reality.

Jun 20, 2012 — I have John Schlesinger to thank for my role in Harold and Maude. I’d been in Sunday Bloody Sunday for John. He had given Hal Ashby my name to look up when Hal was interviewing all the famous English dames...