As much as Matt can say about "Baby Driver" in 30 minutes at the keyboard.
Reviews from Sundance of two World Cinema Dramatic titles, "The Nile Hilton Incident" and "Don't Swallow My Heart, Alligator Girl!"
Psychedelia with a smile.
A CIFF 2016 dispatch on Fisher Stevens and Alexis Bloom's "Bright Lights," Julia Ducournau’s "Raw," and Ken Loach's "I, Daniel Blake."
The latest and greatest on Blu-ray and DVD, including The Neon Demon, The Wailing, Central Intelligence, and more.
A report from Venice on the festival's Venice Classics program, including restored films by Robert Bresson, John Ford, Andrei Tarkovsky, George Romero and Woody Allen.
An interview with actress Agyness Deyn about her performance in Terence Davies' "Sunset Song."
A new breed of female lead; A tale of two Fishers; Penn's hate-watch for the ages; "Paterson" is perfection; "The Salesman" marks Iran's post nuclear deal cinematic resurgence.
Reviews from Cannes of Cristian Mungiu's "Graduation" and Nicolas Winding Refn's "The Neon Demon."
Ben Kenigsberg introduces the Cannes Film Festival's sidebars and discusses Pablo Larrain's "Neruda."
The movie questionnaire and 2015 reviews of RogerEbert.com editor Brian Tallerico.
Sheila writes: Before directing the Oscar-nominated (and Oscar-winning) "Whiplash," writer/director Damien Chazelle made a short film called "Whiplash," an excerpt from the larger story, with J.K. Simmons in the same role that just won him an Oscar. Miles Teller's role is played by Johnny Simmons. You can view the short film on Youtube (clip below). It's 17 minutes long, but it still gives a glimpse of the feature it would eventually become.
Barbara Scharres on the first day of the 2014 Cannes Film Festival, including Grace of Monaco, Timbuktu, and the opening day press conference with Jane Campion.
How does screen violence make you feel? What kind hurts, and what kind doesn't? What goes through your mind when you see blood on the screen?
An interview with Nicolas Winding Refn, director of "Valhalla Rising," "Drive" and "Only God Forgives," among other films. Simon Abrams talks to the filmmaker about midnight movies, meeting Alejandro Jodorowsky, and the possibility that he might day make a Wonder Woman movie.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
Great Movies
