Critical Care

Jul 9, 2017 — A veteran of Japan’s legendary Shochiku studios, the versatile genre auteur Yoshitaro Nomura made his mark with a string of impeccably constructed thrillers. Five of his best are now available to stream on the Criterion Channel on FilmStruck.

Jul 6, 2017 — We open today’s round, considerably briefer than yesterday’s, with Ridley Scott double feature—of sorts. Movie City News alerts us to an article by Scott himself that originally appeared in the August 1979 issue of American Cinematographer: “I felt that Alien...

Jul 5, 2017 — Robert Pattinson is on the cover of the new issue of Film Comment and online we find a brief excerpt from editor Nicolas Rapold’s interview with the star of Josh and Benny Safdie’s Good Time.Amy Taubin describes what, for her,...

Jun 27, 2017 — On what would have been his seventy-sixth birthday, we look back at the incandescent, richly cinematic reveries of one of the most acclaimed Polish filmmakers of his generation.

Jun 22, 2017 — The new issue of Senses of Cinema opens with a whopping dossier on Budd Boetticher (1916–2001). In his introduction, Dean Brandum notes that “in 1960, at the very moment he seemed destined for A-list status, he walked away from Hollywood,...

Jun 13, 2017 — Film Quarterly has not only a new issue but also a new site. In her opening editorial, B. Ruby Rich, who, as noted the other day, will be in London from June 22 through 25 for the series of screenings...

Jun 12, 2017 — Informed by his work in theater and his travels through rural America, Nicholas Ray brought an outsider’s perspective to genre filmmaking in his debut feature.

Jun 1, 2017 — By turns gritty and lyrical, this portrait of the Syria-Turkey border brings together two pioneers of Turkish cinema.

May 25, 2017 — “The botched bank robbery is a well-worn genre staple, but has ever a heist gone quite so wrong to quite such electric, propulsive effect as in Josh and Benny Safdie’s Good Time?” asks Jessica Kiang at the Playlist. “Bouncing wildly...

May 18, 2017 — Loveless is “two hours of gorgeously gloomy existential despair courtesy of the well-regarded Russian filmmaker Andrey Zvyagintsev,” writes Justin Chang in the Los Angeles Times. “Often touted as an heir to Tarkovsky, Russian cinema’s other famously austere Andrey, Zvyagintsev previously...