A Real Pain

Jun 26, 2012 — Hiroshi Inagaki’s action epic is as responsible for creating Toshiro Mifune’s legendary cinematic persona as the films of Kurosawa.

Dec 6, 2011 — The Lady Vanishes (1938) is the film that best exemplifies Alfred Htchcock’s often-asserted desire to offer audiences not a slice of life but a slice of cake. Even Claude Chabrol and Eric Rohmer, in their pioneering study of Hitchcock, for...

Nov 19, 2008 — My first trip to Paris took place inside the darkened cafeteria of Warnsdorfer Elementary School in East Brunswick, New Jersey. A few times each year, the entire student body was brought together to watch movies cast from a rickety 16...

Nov 26, 2001 — Peter Weir’s first film to be released in America insists on the tangible power of spiritual life.

Sep 27, 1999 — In And the Ship Sails On, I needed a large exterior to paint, so I used the wall of the Pantanella pasta factory. It was where my father, Urbano Fellini, had worked when he passed through Rome on his way...

Nov 11, 2002 — Continued from Anatomy of a Love Festival - Part One The real turn-on, though, was the music—twenty-two hours of it, divided into solid chunks that usually ran more than thirty minutes. Friday night was the epitome of what San Francisco...

Nov 28, 2010 — “What we need are good old American—and that’s not to be confused with European—Art Films.” So declared the then twenty-nine-year-old beatnik Method actor Dennis Hopper in an unpublished 1965 manifesto. “The whole damn country’s one big real place to utilize...

Feb 24, 2026 — Centered on the emotional unraveling of a failed newsman, this darkly prescient satire envisions the collapse of American society as we knew it through an unsparing critique of corporate media and capital accumulation.

Aug 19, 2025 — In his fifth and sixth feature films, Edward Yang sought to uncover what was hidden in Taipei society, often in plain sight, looking past the city’s shiny skyline to the fault lines beneath the surface.

May 27, 2025 — Suffused with slapstick humor and slightly surreal wit, Richard Lester’s beloved take on a frequently adapted adventure epic embodies a style of extravagant filmmaking that didn’t survive long past the 1970s.