Gerald Peary
At this year’s festival: the Best Film of 2024, “We Strangers,” and a slew of gossipy docs on show business celebrities.
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Film historian Peter Cowie’s writing is always intelligent, if somewhat dry, and normally correct in its evaluations of Ingmar Bergman’s films.
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Ryusuke Hamaguchi’s latest film is consciously frozen paced to the point of parody.
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The best part of the Silver/Ursini book is the padding, the last forty pages in which the two authors go past “Double Indemnity”‘s release to contextualize it within the generic stream of “film noir”.
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Who would predict that this perfectly calibrated tale would be yanked out of its early 20th century setting and become dystopian science-fiction?
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This sweet, amusing documentary revolves around collectors (all eager males) who are crazy with nostalgia for the mainstream cinema of the late 1970s through the 1990s.
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“The Path to Paradise” is yet another bio in praise of a high modernist male artist who is seen as that much more colorful because of his excesses and failures.
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Has there ever been a better or more accurate film about young girls on the edge of adulthood testing out their sexuality?
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In this promising filmmaking debut of Cord Jefferson, we’re given a too-rare peek in cinema into upper middle-class African-American life.
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Frederick Wiseman’s latest documentary — an immersive visit behind the scenes of a three-star Michelin restaurant — is a savory, irresistible treat.
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