Gerald Peary
Anyone who cares deeply about cinema owes Jonas Mekas an abiding debt for all that he did for independent American filmmaking.
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The Menu serves up a ghoulish and madly entertaining two hours of prime cinema.
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In our politically correct times, the temptation would be to make a simplistic film in which Sandra, the good Black woman, is beset by bad white people.
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In this genial, colorful memoir, Leslie McFarlane reveals the long path to how, anonymously, he became author of the most best-selling series of boys’ books in publishing history, twenty million volumes and counting.
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Max Walker-Silverman’s first feature, A Love Song, is a character-driven, humanist, and deeply ecological present to someone of my generation.
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This year, I decided to skip gay films altogether. I got tickets instead for two promising lesbian-themed feature documentaries. An excellent decision.
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If the filmmakers are going to delve into the Jazz Fest vaults, how is it possible to show only a few seconds of Professor Longhair and nothing of James Booker, the Meters, the Neville Brothers? Not good.
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Again and again, we are taken in The Will to See to places where regular reporters never venture, and certainly not filmgoers.
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Considering his loopy career and also his bumpy off-screen life, Nicolas Cage seems neither ashamed nor apologetic about how it’s all gone down.
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Film Commentary: The Books That Shaped My Film Aesthetic
Here’s a personal list of the 25 most important, influential books about American cinema. Only one book per author.
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