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Jul 22, 2009 — In honor of the Museum of the Moving Image and the Museum of Arts and Design’s joint retrospective French New Wave Essentials, now ongoing in New York, New Yorker film editor and blogger extraordinaire Richard Brody has posted a short...

May 20, 2009 — With its madcap mixture of the political and the, uh, porcine, Shohei Imamura’s Pigs and Battleships is a strange (and strangely satisfying) beast indeed. To better understand where the director was coming from when he made this breakthrough work, we...

May 11, 2009 — “It’s taken more than fifty years, but the world has finally caught up with [the] dark and cynical vision” of Billy Wilder’s chillingly black satire of the fourth estate, Ace in the Hole, A. O. Scott declares in a clever...

Apr 22, 2009 — Some of you might have seen the news item on our website regarding the Jacques Tati “centennial-plus” and the exhibits around Paris paying homage to the inventive filmmaker. I had the good fortune to be in the City of Lights...

Apr 15, 2009 — Many a morning have we staggered into work, bleary-eyed, from staying up late to watch some unexpected treat on Turner Classic Movies. So on this, TCM’s fifteenth anniversary, we’d like to thank the invaluable cable station for the memories—and the...

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

Jun 18, 2007 — Dušan Makavejev’s masterpiece explores sexual freedoms and their perils in both New York and Belgrade, using each city and set of practices and problems to help define the other.

Jan 22, 2007 — A delightfully old-fashioned morality tale, Robert Day’s low-budget space flick is far more than the standard monster fare it was initially sold as.

Oct 16, 2006 — Alfonso Cuarón’s first film—a sex farce that pokes fun at Mexican culture, including a public-service AIDS campaign—emerged from Mexico’s beleaguered state funding system for cinema, and was initially shelved by the government.

Jun 13, 2005 — Godard’s famous claim that Au hasard Balthazar is “the world in an hour and a half” suggests how dense, how immense Bresson’s brief, elliptical tale about the life and death of a donkey is. The film’s steady accumulation of incident,...