Peter Keough
Inevitably, by recasting Petra von Kant as a version of Rainer Werner Fassbinder himself, François Ozon has rendered the film self-consciously cinematic.
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Peter Keough has edited a useful, insightful, and delightful new collection of short essays that explore films that appeal to adults who seek childlike glee or awe at the movies.
Read MoreAre people more desperate or deluded or have my own critical faculties narrowed and deteriorated?
Read More“Fictional movies seem more and more made from recipes. Documentaries seem a much more open, adventurous field.”
Read MoreFilm Interview: No Jumping to Conclusions in ‘Sunshine Superman” — Talking to Director Marah Strauch
Marah Strauch’s documentary tries to fathom Carl Boenish’s motive for taking his last leap.
Read MoreNot everybody loves the documentary Last Days in Vietnam. Director Rory Kennedy responds to some of the criticism.
Read MoreOur demanding critics choose the best and worst films of the year.
Read MoreThe most unfairly maligned film of the year: Ridley Scott’s “The Counselor.” The most overrated movie of the year, which gave me a mammoth headache: “American Hustle.”
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Film Commentary: You Know It When You See It — Desire and “Blue is the Warmest Color”
Without its many steamy lesbian sex interludes tarting up what could otherwise be classified as a routine narrative, would “Blue is the Warmest Color” have garnered so many rave reviews and prizes?
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