This Could Be the Night

Sep 19, 2016 — If you consider noir as a global phenomenon, then films like Julien Duvivier’s Pépé le moko (1937), Jean Renoir’s La bête humaine (1938), and Carné’s Port of Shadows (1938) may be the first full harvest of this bitter crop.

Aug 17, 2016 — The director of Morris for America, a poignant coming-of-age tale about a thirteen-year-old boy and his widowed father, talks about his eclectic inspirations and unique approach to movie watching.

Jun 17, 2014 — The brutal lessons of Vietnam remained in America’s national consciousness for a generation. September 11 gave us collective amnesia, and they’ve had to be learned again.

Nov 27, 2010 — The New Jersey resort town of Atlantic City provides the backdrop for two distinctive films made at opposite ends of the seventies: Bob Rafelson’s 1972 The King of Marvin Gardens and Louis Malle’s Atlantic City, released in 1981. That decade...

Jan 21, 2008 — Married thrice and divorced from all of his wives at a time in Western culture when such marital fluctuation was rare, the playwright August Strindberg undoubtedly used his own dramatic life as a sourcebook.

Jun 26, 2018 — John Waters’ favorite among his early works is both an assault on political correctness and a no-holds-barred expression of gay militancy.

Dec 17, 2017 — “He’s joking all the time if he feels he has an audience,” Barbet Schroeder said of Idi Amin in a 1976 New York Post interview.I think we know the type.Ugandan dictator Amin, the subject of Schroeder’s 1974 documentary General Idi Amin Dada: A...

May 10, 2011 — Something Wild asks the eternal question “What makes us happy?” But the answer it proposes is far from easily arrived at. It’s a boy meets girl story, certainly, but one that goes much deeper with that narrative than most films...

Apr 18, 2011 — An Eagle for an Emperor, a Gyrfalcon for a King;   a Peregrine for a Prince, a Saker for a Knight, a Merlin for a Lady;   a Goshawk for a Yeoman, a Sparrowhawk for a Priest,   a Musket...

Sep 28, 2016 — “King of the Nudies” Russ Meyer injects his transgressive exuberance into this big-studio send-up of Hollywood debauchery.