Dan Callahan has crafted an entertaining and illuminating guide to understanding Hitchcock’s relationship with some of the most iconic actors of the day.
What is the problem with this Rebecca? It is stunning to look at and well-crafted, but I sometimes felt as though the actors were striving for a tone more suitable to a film other than the one they were in.
Sacha Baron Cohen uncovers enough destructive inanity in Borat II to justify the savagery of its satire of American ignorance.
In the end, The Trial of the Chicago 7 strikes a reasonable balance between historical document and cinematic art.
White Noise is neither a polemic nor an exercise in agitprop: it is a journey into the dark center of a reprehensible movement that is growing more vocal every day.
Belushi is a warts-and-all look at one of comedy’s raging bulls.
Director Rubika Shah ends her film on this high note, but no one watching could conclude that the struggle is over
The 1979 documentary Town Bloody Hall is a time tunnel passageway into what stand-up comedians used to call “women’s lib.” It is still liable to raise a gendered ruckus — and provide a rollicking good time.
In his mostly successful filmic adaptation of Martin Eden, Italian director Pietro Marcello transposes with ease London’s Oakland novel to the seaport of Naples.
Defiant and tonally offbeat, French Exit mirrors, in a sense, its female protagonist, who doesn’t give a damn what the world thinks of her.