J.

Feb 11, 2002 — The last, best, and funniest movie Milos Forman would make in his native Czechoslovakia is a deceptively simple miniature.

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.

Apr 23, 2001 — Released in late 1938, Alexander Nevsky was not only the first sound film to be directed by Sergei Eisenstein, but the director’s political comeback as well. This most famous of Soviet artists had not completed a movie since The Old...

Jan 11, 1999 — This epic reimagining of medieval Russia was the most historically audacious production made in the twenty-odd years after Sergei Eisenstein’s Ivan the Terrible.

Nov 18, 1997 — Erotic and antierotic, Crash the movie begins boldly enough with a vacantly lissome blonde (Deborah Kara Unger) dreamily opening her blouse to press a bare nipple against the enameled surface of an airplane fuselage before allowing a total stranger to...

Sep 11, 2025 — For J. Hoberman, the film “more than makes the case for Fonda’s centrality in the American imaginary.”

Oct 16, 2020 — This week we’re reading Jacques Rancière on Pedro Costa, J. Hoberman on Pietro Marcello and Jack London, and Sasha Frere-Jones on Jóhann Jóhannsson.

Nov 9, 2018 — This week has seen appreciations of such disparate figures as Ida Lupino, André Bazin, and F. J. Ossang.

The filmmaker talks about the hypnotic quality of L’avventura, praises Alan J. Pakula’s Paranoia Trilogy, and shares how David Fincher’s The Game helped kickstart his career.

The writing and directing partners behind the new show A Murder at the End of the World talk about the influence of Alan J. Pakula, share their deep connection to The Double Life of Véronique and After Life, and praise...