Right to Die

Oct 29, 2019 — Matewan opens in the pitch-black darkness of a West Virginia coal mine. A miner lights the carbide lamp on his helmet. The small open flame he wears provides the only flicker of light in this cramped space next to a...

Oct 16, 2019 — Deep Dives “I have a feeling that the really crucial moments in a film should be wordless,” the Bengali filmmaker Satyajit Ray once said. He was speaking of his 1964 masterpiece Charulata, whose action consists largely of soulful looks passing...

Dec 6, 2018 — Adam McKay’s Vice leads the Golden Globe nominations as critics write up their lists of the best of 2018.

Nov 26, 2018 — The legendary filmmaker possessed the greatest speaking voice in American cinema, and The Magnificent Ambersons represents the summit of his work as a vocal actor.

Jan 4, 2018 — Even as we look ahead to the films we’re hoping to see this year, there’s still some 2017 sorting to do. And let’s begin with Farran Smith Nehme’s refreshing list of some of the older films she caught last year....

Oct 5, 2017 — “The French writer and actress Anne Wiazemsky, who famously wrote a best-selling account of her short marriage to New Wave director Jean-Luc Godard, died of cancer in Paris on Thursday,” reports the AFP. Wiazemsky, who was seventy, “made her screen...

May 21, 2017 — “Arguably, more question marks hung over the prospect of Redoubtable than over any other film in Cannes this year,” begins Jonathan Romney in Screen. “One reason was the idea of Michel Hazanavicius, director of the world-beating The Artist, seeming too...

Jun 2, 2016 — Kings of the Road is the most “roadish” of Wenders’s road movies, a film about travel as a form of escape for two German men and the transitory bond they form along the way.

Jan 2, 2013 — Performances Hirokazu Kore-eda’s Still Walking is an exquisitely lived-in portrayal of family life. It takes place largely over the course of one day, at the home of the aging Yokoyamas, Toshiko (Kirin Kiki) and Kyohei (Yoshio Harada), as they welcome...

Nov 13, 2012 — Rejecting the orientalism of other adaptations, Pier Paolo Pasolini’s take on the classic tales is humane and erotic.