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Sep 18, 2000 — Reviewing Laurence Olivier’s 1948 film of Hamlet, James Agee—then a critic at Time—wrote: “The man who brings Hamlet, his friends, and his antagonists to life has tackled one of the most fascinating and most thankless tasks in show business. ....

Sep 18, 2000 — Drenched in mud and rain, Lars von Trier’s breakthrough film inhabits a true twilight zone, bereft of heroes and integrity.

Aug 28, 2000 — The acclaimed humorist’s work sees the range of human folly sans romance and piety.

Aug 28, 2000 — Good Morning is the wildcard in Yasujiro Ozu’s career, the film that looks least like all his others, and one of the few where he sees the world through childrens’ eyes rather than those of an old man.For many years,...

Aug 28, 2000 — Alberto Lattuada’s gifts for dramatic narrative were joined for the first and last time with Federico Fellini’s flair for cartoonish satire and lyrical sentiment.

Jul 17, 2000 — Designed to steam viewers’ glasses, Roger Vadim’s directorial debut boldly announced the arrival of Brigitte Bardot.

May 15, 2000 — Agnes Varda’s Cléo from 5 to 7, the first fully-achieved feature by the woman who would become the premiere female director of her generation, dazzled when it opened, and looks even more timely today in its tackling of the fashionable...

May 15, 2000 — Vagabond has been called Agnès Varda’s Ulysses, and with good reason. The comparison with James Joyce’s era-defining epic novel extends well beyond a recognizable similarity between the two artists. Both writer and filmmaker occupy vanguard positions in the history of...

May 15, 2000 — In René Clair’s ebullient early talkie, an unsentimental love of humanity permeates every frame.

May 15, 2000 — Twenty-five years after its first appearance, Bergman’s film of The Magic Flute remains the finest screen version of an opera ever produced. Shot in sumptuous color by Sven Nykvist, and featuring some of the finest Nordic singers of the day,...