R.I.P.D.

Jan 25, 2010 — Unlike the more aesthetically and intellectually conceived French New Wave, Italian neorealism was above all an ethical initiative—a way of saying that people were important, occasioned by a war that made many of them voiceless, faceless, and nameless victims. But...

Dec 1, 2009 — The first words we hear are Sam Cutler’s: “Everybody seems to be ready—are we ready?” We were nowhere near ready for what was to come, there at the bitter end of the sixties. I remember that rainy day so well,...

Nov 22, 2009 — “The most concrete emblem of every economic cycle is the dump,” writes Naples native and best-selling Italian muckraker Roberto Saviano somewhere near the conclusion of his extraordinary 2006 “nonfiction novel” Gomorrah, a seethingly cogent and literarily constructed indictment of the...

Sep 22, 2009 — Something very heavy happened at Monterey last weekend. Those very odd three days began in Friday’s cool gray air as the first of the crowd began to circle through the booths of the fairground. The only word for it then...

Sep 10, 2009 — Is That Hamilton Woman, starring Vivien Leigh and Laurence Olivier at their most heart-stoppingly beautiful and mutually enraptured, one of the most romantic movies ever made because or in spite of the fact that it was designed as propaganda? It...

Apr 28, 2009 — For his ongoing series “Philip French’s Screen Legends,” begun in January 2008 on the Guardian’s website, the British film critic has been profiling the “great actors in film, choosing their key works and assessing their legacy,” in neat little encapsulations....

Apr 23, 2009 — This interview, conducted by Michael Henry, first appeared in the May 1978 issue of Positif.

Nov 27, 2008 — An enormous welter of insoluble problems is on display in Luis Buñuel’s classic—the ending solves nothing; the story just begins again.

Jul 21, 2008 — A dreamy alternative to the standard notion of horror, Carl Theodor Dreyer’s phantasmal film reimagined the figure of the vampire.

Jul 21, 2008 — Akira Kurosawa’s modern adaptation of an American thriller represents a departure from his usual themes and stylistic choices.