Gerald Peary
Again and again, we are taken in The Will to See to places where regular reporters never venture, and certainly not filmgoers.
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.
Eric Neudel and Alison Gilkey found a tremendous subject for a documentary, and have told his tale with urgency and compassion.
Is it possible that adventurous readers have a better feel for the virtues of this zany, demanding satire than fuddy-duddy critics?
Steven Spielberg’s West Side Story is fairly entertaining, fairly decent, but that’s about it.
Bergman Island is a curious, intelligent film that suffers from a disappointing breakdown.
Is what we see real or in the spirit world? Whatever, I cheer on filmmaker David Lowery’s luminous time-traveling. Pure cinema poetry.
The results of a Facebook contest for the Best of American Film Noir, 1940-1959
The Road to Ruin is a practically unknown film begging for discovery, and to be championed as a startling example of pre-Code cinema. And as a keystone for creating a directorial reputation for “Mrs. Wallace Reid.”
Film Feature: Favorite Fiction Features Directed by Women — An International Poll
The result of critics polled for their Ten Favorite Fiction Features Directed by Women — with the choices of Arts Fuse reviewers.
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