We kick off our week of anti-Valentine’s Day recommendations with this bleak, bitter New York City drama from director Jack Garfein.
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With Jerzy Skolimowski’s name back in the headlines for his Oscar-nominated “EO”, we look back at one of his early provocations.
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Clint Eastwood’s 1971 thriller, now on Netflix, raises a question or two about what it means for a movie to be “dated.”
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Since Sundance Film Festival season is upon us, this month’s “Harvey’s Hellhole” recalls one of the many times Miramax forked over a lot of money for a Sundance hit they eventually and unceremoniously dumped into theaters.
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‘Casablanca’ was released 80 years ago today, and there’s a reason why its “La Marseillaise” scene is so powerful: it’s filled with actors who were themselves displaced by the Nazi regime.
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In anticipation for a new Preston Sturges retrospective, here’s a look at the director’s subversive screwball one-two punch from 1944.
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To celebrate the visionary director’s 90th birthday, we examine a key theme running through many of his films, starting with his first.
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As awards season approaches, we look back at one of Elizabeth Taylor’s most misunderstood performances.
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Alfred Hitchcock’s personal favorite of his films celebrates its 80th anniversary this month – a gem of film noir that gets at one of the harsh realities of adulthood: learning that members of your family often aren’t who you thought they were.
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Nearly a century ago, this Marion Davies silent comedy anticipated showbiz send-ups from ‘The Player’ to ‘Babylon.’
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This loose and engaging Eugene O’Neill adaptation from John Ford (in the middle of one of cinema’s great hot streaks) was the playwright’s own favorite film take on his work.
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The stories of Alexandre Dumas make for reliably enjoyable cinema, and this 2002 adaptation is a lazy afternoon’s delight.
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