The Hero

Apr 25, 2005 — In Andrzej Wajda’s masterful antiwar film, we see scarcely a single combat death, yet the dark radiance of doom haloes one and all.

Apr 25, 2005 — Andrzej Wajda’s first feature film marks the beginning of the Polish School, the paradigm of Polish cinema that arose from the political and cultural thaw of the mid-1950s.

Jan 10, 2005 — Seijun Suzuki's penultimate film for Nikkatsu is a subversively funny account of the making of a model fascist.

Aug 2, 2004 — Dismissed as minor Jean Renoir, the film deserves better, especially when seen in the larger context of numerous American and European films of the 1950s and their shared preoccupation with theater and performance.

Sep 29, 2003 — Fassbinder had long dreamed of a “German Hollywood film.” He sought not only success with the audience, but also professionalism. The auteur film in its purest form is an attempt to abolish the division of labor: the filmmaker represents in...

Aug 18, 2003 — One of the Swedish director’s most representative works, this drama’s portentousness, banked intensity, and recondite symbolism come near to embodying the popular stereotype of the Bergmanesque.

Sep 23, 2002 — The theatricality of Alfred Hitchcock’s thriller makes the point that psychoanalysis is a sister to cinema rather than a rival.

Dec 4, 1995 — While Carol Reed’s psychological noir is the most compassionate of movies, it’s a poetic summary of twentieth century harshness—of what can be called the inhuman condition.

Dec 19, 1993 — The first above-ground picture made by John Waters was a cinematic breakthrough more profound than Dolby sound or Cinerama.

Dec 2, 1990 — In Martin Scorsese’s hands, the camera is not simply a recording device, but an x-ray machine—and it shows us close-ups of the human soul.