Come from Away

Nov 7, 2005 — Often appearing on lists of the ten greatest films of all time, called one of the most beautiful films ever made, or the most masterful work of Japanese cinema, Ugetsu comes to us awash in superlatives. No less acclaimed has...

Oct 29, 2001 — Peter Medak’s stinging satire is unashamedly theatrical, emerging from a fascinating period in English culture when theatre and cinema together were mining a rich vein of flamboyant self-analysis.

Aug 20, 2001 — Before Lars von Trier, Krzysztof Kieslowski, Andrei Tarkovsky, Ingmar Bergman, Robert Bresson there was Carl Th. Dreyer. The first great film artist to pursue the ineffable in cinema, Dreyer gave depth to what early silent filmmakers innately understood yet took...

May 5, 1998 — Borrowing inspiration from doom-laden French crime movies like Jean-Pierre Melville’s Le samouraï and ancient Chinese chronicles of patriotic assassins, John Woo’s film is a passionate cinematic upheaval.

Jun 23, 2026 — The only favor I ever asked of a twink was for tickets to see John Waters introduce two of his films. I was the sole trans filmmaker enrolled in my school’s program, and I felt it was my right to...

Jun 18, 2026 — Over the course of his first three documentaries—Helvetica (2007), Objectified (2009), and Urbanized (2011)—Gary Hustwit established a clean and clear cinematic language that he used to describe the complex and often contradictory systems of thinking that designers use to shape...

May 27, 2026 — This year brought restorations of Ken Russell’s The Devils and docs on Vittorio De Sica, Chris Marker, David Lean, and Bruce Dern.

May 19, 2026 — New films by Ryusuke Hamaguchi and James Gray are riding high on the Cannes critics’ grids.

May 19, 2026 — “My history’s burning up out here,” Ned Racine (William Hurt) tells his lover in the opening minutes of Lawrence Kasdan’s directorial debut, Body Heat (1981). Ned, a small-time attorney and local roué in his South Florida beach town, recognizes the...

May 12, 2026 — Sexuality—how one defines it, lives with it, hides it, shuns it, or wields it—is inextricable from matters of socioeconomic class, though rare is the American film that centralizes this intersectional reality. The foundational myth of the American dream puts forth...