Columns // 1 Articles
Reviews // 11 Articles
Blogs // 5 Articles
News // 2 Articles
Media // 2 Articles
Extra Large Popcorn, Please: The Film Forum's "Return of the Double Feature"
25 Aug 2016 // 9:30 PM
Originating as a practical means to ensure financial solvency, the “double feature” may now serve a more profound aesthetic purpose.
The Magnificently Mutilated Ambersons
4 Dec 2013 // 10:00 PM
Though Citizen Kane has cemented his place in film history, The Magnificent Ambersons -- especially had its original ending been kept -- would prove Orson Welles one of Hollywood’s greatest masters of tragedy, if not the greatest.
Orson Welles: A Man of a Certain Ego
4 Feb 2010 // 4:00 PM
“The chief proof of a man’s real greatness lies in his perception of his own smallness. It argues... a power of comparison and of appreciation which is in itself proof of nobility.”
Play Out the Play: Orson Welles’ Chimes at Midnight
27 Sep 2016 // 9:45 PM
Bursting with vertiginous momentum, Chimes at Midnight presents a wonderfully sociable anti-sociality.
The Ontology of the Story in 'The Immortal Story'
19 Sep 2016 // 4:30 AM
A story is told, not lived. It's experienced as a sort of opiate, a momentary deferral of lived experience.
Criterion Draws Fresh Restorations From Welles With 'Chimes at Midnight' and 'The Immortal Story'
22 Sep 2016 // 9:45 PM
In his late period, Orson Welles was just getting started.
PopTalk: Breaking Down the Dollars and Cents of Crowdfunding
24 Aug 2015 // 6:00 AM
Crowdfunding sites like Kickstarter and Indiegogo offer both indie and major filmmakers an array of opportunities to see their visions realized. But does it come with strings attached?
Remembering Orson Welles at 100
4 May 2015 // 9:29 AM
Forgive Orson Welles his excesses from steaks and milkshakes to impossible dreams and wish him a happy birthday wherever he is.
After 70 years, the greatness of ‘Citizen Kane’ remains undiminished
15 Sep 2011 // 1:30 AM
From a review of Orson Welles’ “Citizen Kane” at the time of its release in 1941: “Before ‘Citizen Kane,’ it’s as if the motion picture