Epic fail-safe: A HOUSE OF DYNAMITE is a high-minded piece of doomsday schlock — and a baffling misuse of the director Kathryn Bigelow's talents. www.newyorker.com/culture/the-...
Kelly Reichardt's The Mastermind is as startling in form and style as in drama and worldview; a quietly wildly original movie, a grim and giddy delight: www.newyorker.com/culture/the-...
Greatly looking forward to this: a screening of Rachel Amodeo's superb and underappreciated film What About Me, followed by a Q. & A. with her and co-star Richard Edson that I'll be moderating, in the Downtown Festival at the Roxy Cinema, Saturday at 6:30pm www.roxycinemanewyork.com/screenings/t...
Another chance: this Tuesday, Sophie Fillières's great last film, This Life of Mine (Ma vie ma gueule), infuriatingly undistributed here, opens the welcome retrospective of her films at L'Alliance, at 4 and 7... www.newyorker.com/culture/the-...
Kenji Mizoguchi's The Story of the Last Chrysanthemum, one of the handful of supreme movies, at Japan Society (where I first saw it about 35 years ago) (sitting next to Susan Sontag) at 6:30pm in 35mm.(also on the Criterion Channel) www.newyorker.com/culture/rich...www.newyorker.com/goings-on-ab...
Richard Linklater's two surprising new movies, Blue Moon and Nouvelle Vague, are hectic dramas of two great artists racing against the clock—in effect, racing to exist—with very different results; both are highly recommended: www.newyorker.com/magazine/202...
Lino Brocka's furious melodrama Manila in the Claws of Light (1975), a film of exhilarating and pugnacious energy amid the horrors of a corrupt police state and the unredressed injustices that go with it; at the Roxy at 7:30, introduced by Harris Dickinson: www.newyorker.com/goings-on-ab...
Otto Preminger's 1947 melodrama Daisy Kenyon, with its frenzied trio of Joan Crawford, Henry Fonda, and Dana Andrews, is one of the great movies of wartime trauma and its distortions of intimate relationships and public life; on @tcmtv.bsky.social at 9:45pm (ET): www.newyorker.com/goings-on-ab...
Thanks so much for word; I appreciate it; every film needs to be written about differently, and this one made unusual demands—both subjectively as experience and at an analytical distance, and both simultaneously.
Spectacular, intricate, disconnected, profound: One Battle After Another is an immense experience that's best experienced twice: www.newyorker.com/culture/the-...
It's already a year since last year's NYFF and one of its best films, Robinson Devor's documentary Suburban Fury, is still unreleased; also, just found out that its subject, Sara Jane Moore, died last week, at ninety-five. apnews.com/article/sara... www.newyorker.com/culture/the-...
Releases came more slowly, the chronology of prolific filmmakers such as Godard (if there even were other such...) must have been harder to follow. www.criterion.com/current/post...
Pierrot le fou, which played at Venice and came out in France in 1965, screened at the NYFF in 1966, and was released here only in...1969, is playing tonight at the Paris in 35mm.; word on it from when @criterion.bsky.social put it out a while ago (and it's on the Criterion Channel now):...
The only problem with Mary Stephen's terrific new film Palimpsest: The Story of a Name is that it's playing only once rather than getting an official release, which it deserves, since it's far superior than much that gets released.
Essentials 3: Mary Stephen's Ombres de Soie (Shades of Silk), at the NYFF at 7 (also playing Monday and Wednesday) and her new film Palimpsest: The Story of a Name, at Metrograph tomorrow at 2:30pm, and she'll be at both screenings for a Q. & A.: www.newyorker.com/culture/the-...
Essentials 2: Ticket of No Return, Ulrike Ottinger's own legend of the holy drinker, with its riot of style matched by Tabea Blumenschein's performance of loopy melancholy; at Metrograph at 8:40pm, introduced by Ottinger: www.newyorker.com/culture/phot...
