Look Back

Oct 20, 2020 — At the start of The Gunfighter, Jimmy Ringo is a man with eleven kills to his name, soon to be twelve. But the only place he actually appears to be very violent, or even very vital, is in other people’s...

Oct 15, 2020 — A quick survey of projects in the works coming from Ava DuVernay, Steven Soderbergh, Park Chan-wook, Clint Eastwood, and Ridley Scott.

Oct 9, 2020 — In Scoundrels & Spitballers: Writers and Hollywood in the 1930s, veteran French journalist Philippe Garnier brings to life an enchantingly raffish community of typewriter-pounders who headed west to try their luck in the verbal gold rush set off by the...

Oct 7, 2020 — One Scene I have a very precise memory of watching The Game for the first time, of sitting on the couch in the family room of my childhood home, inserting the VHS tape, and being totally taken in. At the...

Oct 7, 2020 — Martin Scorsese’s World Cinema Project No. 3 Spanning almost fifty years and four continents, Criterion’s recently released third collection of films restored by The Film Foundation’s World Cinema Project is a treasure trove of discoveries, each illuminated by a unique...

Sep 30, 2020 — The new issue offers features on films by Gianfranco Rosi, Orson Welles, Ephraim Asili, and Nicolás Pereda.

Sep 24, 2020 — As video games have evolved into a technological and economic behemoth, they have attracted some consumer attention and spending away from movies. In part to appeal to filmgoers accustomed to the high production values of the big screen, large-budget games...

Sep 23, 2020 — From Hitchcock’s orbit to The Architecture of Cinematic Spaces, here’s some of this month’s best writing on new books.

Sep 16, 2020 — When I think of Albert Brooks, the first image that invariably comes to mind is that of a worry-stricken man desperately impressing his anxieties upon a bemused, notably less nebbishy partner, presenting an elaborate case for the legitimacy of those...

Sep 15, 2020 — When Claire Denis’s Beau travail (1999) first appeared on American screens, the critic Stephen Holden used a striking phrase to capture its embracing of bold opposites: “voluptuous austerity.” His characterization, widely quoted since, illuminates the film on many levels, and...