Sunrise

Aug 28, 2012 — A frenetic portrait of New York as well as a love story, Paul Fejos’s film captures the odd sensation of being alone in the big city, even when in a crowd.

Aug 21, 2012 — Andrew Haigh’s boy-meets-boy story reminds us that the biggest pleasures of falling in love come from the little moments of connection.

Oct 25, 2011 — The film is made up of a succession of small visions, observed and executed with apparent ease but thought through with such exquisite care and attention that the experience becomes overwhelming.

Oct 25, 2011 — An Erle C. Kenton–directed Paramount feature based on the 1896 H. G. Wells novel The Island of Dr. Moreau, Island of Lost Souls (1932) is the story of a mad scientist’s attempts to convert wild animals into human beings by...

Aug 23, 2011 — Intimidation: The Weird Dream MakerImpassioned and dedicated craftsman of some of Japanese cinema’s biggest box-office successes and most eccentric off-genre sorties, longtime Nikkatsu studios mainstay Koreyoshi Kurahara (1927–2002) was a filmmaker with two opposite yet inseparable signature points of view....

Dec 21, 2009 — Me and Orson Welles is the latest film from director Richard Linklater (Slacker, Dazed and Confused). Set in late-1930s New York, it’s both a nuanced, entertaining look at Orson Welles’s early career as founder of the Mercury Theater and a...

Feb 18, 2008 — Actor and writer Linda Sandoval met Alex Cox in 1983, when her husband, Miguel Sandoval, was cast in Repo Man (she recalls that Cox phoned to say he had good news and bad news: the bad news was that Miguel...

Jan 21, 2008 — Agnès Varda seizes the kind of immediacy and tension associated, at the start of the sixties, with the cinema verité documentary movement and uses it to create a new form of fiction.

Jan 12, 2007 — Ijust got back from an around-the-world trip to Minnesota, India, and Paris, and I did it all in about seven days. I’m not proud to admit that all of that traveling was actually done from the shabby couch in my...

Jan 6, 2003 — “No one would claim that Lubitsch’s German films were more important than his American ones (cf. Fritz Lang).” This was Richard Roud’s response to my piece “Ernst Lubitsch: German Period” in his Cinema: A Critical Dictionary. One could indeed ask...