In her Gotham-set trilogy “Smithereens,” “Desperately Seeking Susan,” and “Cookie,” director Susan Seidelman explored the quirks and eccentricities of ‘80s women.
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Our mini-reviews of “The Uncle,” “Because We’re Family,” “Guys at Parties Like It,” and more.
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If epics are defined as a “body of legend or tradition” illuminating the lives of single, indefinable people, all of Powell and Pressburger’s work could be described as “epic”.
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When he was offered the job in late 1963, Richard Lester was well-positioned to tackle the assignment of directing the Beatles in their first feature. A television veteran just coming off The Mouse on the Moon (the Peter Sellers-free sequel to The Mouse That Roared) for producer Walter Shenson, Lester’s own debut was the 1962 […]
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The 1937 screwball comedy can be enjoyed as one of the best of its type—and as a historic record of the moment a screen persona was perfected.
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Ti West’s porn-and-violence trilogy concludes not with a bang, but a whimper.
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One of cinema’s strongest indictments of the American Dream, Brian De Palma’s 1981 political thriller dredges up what were then still fresh memories of the JFK assassination, Chappaquiddick, and Watergate, and reopens these unhealed wounds.
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The latest installment in Eddie Murphy’s action/comedy franchise, three decades in coming, is one of the loveliest surprises of the year.
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As the oldest living actress of Hollywood’s golden age celebrates her 100th birthday, we reconsider her work in the two stone-cold classics of her career.
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In memory of Donald Sutherland, we look back at his staring role in Federico Fellini’s historical epic of sex, love, and debauchery.
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As well as its jokes and social commentary hold up 25 years after its release, the film’s songs and grasp of musical theater history increasingly feel like its defining elements.
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Jacques Demy’s enchanting, heartsick 1961 debut isn’t a musical, but that’s not for lack of trying.
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