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Oct 24, 2005 — The hero in Masahiro Shinoda’s popular samurai movie is both a genre figure and an ordinary character, both killer and savior, both larger than life and lost in the mists.

Jan 17, 2005 — Jacques Becker’s crime film contains plenty of the requisite genre elements—double-crossings, violence, kidnappings, and gun battles—but it’s also a pensive meditation on age, friendship, and lost opportunities.

Dec 6, 2004 — In his first freestanding biblical epic, Cecil B. DeMille recognized and revered a profound quality in the American soul—its ability to leap over every contradiction through an invincible sense of its own righteousness.

Sep 13, 2004 — This oblique strategy can be seen as a self-referential characterization of Slacker itself: it appears to have no struc­ture, to be chaotic (a matter of random encounters), when, in fact, it has a very subtle, extremely well-crafted structure that makes...

Apr 28, 2003 — François Truffaut’s third Antoine Doinel installment is a perpetual juggling act by which harsh truths are disguised as light jokes.

Jun 3, 2002 — By any standard, The Horse’s Mouth shines as an outstandingly personal work from a decade that often seems the most arid in British cinema. Amid tepid comedies and timid thrillers, it sparkles with conviction and eccentricity—at least that’s how it...

Mar 11, 2002 — This compendium of visual delights displays director Federico Fellini’s team of performers, writers, and designers at full and exhilarating stretch.

Oct 15, 2001 — Preston Sturges’s beloved comedy provides insights into the way Hollywood formulas work on us.

Sep 17, 2001 — Jirí Menzel’s war comedy is an absurdist symphony of self-absorption and impotence.

Nov 13, 2000 — Featuring what may be the only 1950s monster that could not be destroyed, this cult classic warns parents to listen to their kids because the world they understood and controlled is over.