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Feb 14, 2005 — A touchstone of Jean-Luc Godard‘s political period, the film plays with the idea of recording working-class history as it is happening.

Jan 31, 2005 — With this early work, Bernardo Bertolucci confidently demonstrated the instinctive lyricism and sensuality that in his maturity would become his very own signature.

Jan 31, 2005 — Like the movie’s rattletrap trucks lurching down the highway as they carry way-too-heavy loads, the characters in Jules Dassin’s brilliantly volatile Thieves’ Highway struggle under psychological and moral baggage until they can lay their burdens down. Working from a novel...

Jan 17, 2005 — Along with Touchez pas au grisbi and Le Trou, Casque d’or is now widely recognized as the summit of Jacques Becker’s achievement as a filmmaker.

Jan 17, 2005 — Jacques Becker’s crime film contains plenty of the requisite genre elements—double-crossings, violence, kidnappings, and gun battles—but it’s also a pensive meditation on age, friendship, and lost opportunities.

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 — In his first freestanding biblical epic, Cecil B. DeMille recognized and revered a profound quality in the American soul—its ability to leap over every contradiction through an invincible sense of its own righteousness.

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...

Nov 15, 2004 — Short Cuts is an L.A. jazz rhapsody that represents Robert Altman at an all-time personal peak—and it came at just the right time in his career.