Us

Nov 13, 2000 — All the opening bands had finished playing, and it was time for the Stones to come out. The sun was still out and there was plenty of daylight left. The crowd had waited all day to see the Stones perform,...

Oct 9, 2000 — One of the most meticulously crafted supernatural fantasy films ever made, Masaki Kobayashi’s Kwaidan (1964) is also one of the most unusual. While such classic black and white chillers as The Uninvited, The Innocents and The Haunting teasingly speculate on...

Aug 28, 2000 — Good Morning is the wildcard in Yasujiro Ozu’s career, the film that looks least like all his others, and one of the few where he sees the world through childrens’ eyes rather than those of an old man.For many years,...

Aug 28, 2000 — Alberto Lattuada’s gifts for dramatic narrative were joined for the first and last time with Federico Fellini’s flair for cartoonish satire and lyrical sentiment.

Jun 26, 2000 — Brief Encounter was the fourth and final film that David Lean made in association with Noël Coward. Derived from Still Life, a one-act play which Coward included in the portmanteau Tonight 8:30, the story tells of a suburban housewife, Laura...

Jun 26, 2000 — Kevin Smith writes about his third feature as a sort of penance/valentine for the woman who made him grow up.

May 15, 2000 — Agnes Varda’s Cléo from 5 to 7, the first fully-achieved feature by the woman who would become the premiere female director of her generation, dazzled when it opened, and looks even more timely today in its tackling of the fashionable...

May 15, 2000 — Vagabond has been called Agnès Varda’s Ulysses, and with good reason. The comparison with James Joyce’s era-defining epic novel extends well beyond a recognizable similarity between the two artists. Both writer and filmmaker occupy vanguard positions in the history of...

May 15, 2000 — Horror movies take place in their own territory. The trick is to get us there. It doesn’t matter whether they start with fantastic premises and gothic settings, or with ordinary neighborhoods and daily experience, because the places and assumptions change...

May 15, 2000 — In René Clair’s ebullient early talkie, an unsentimental love of humanity permeates every frame.