The Cameraman is Keaton's last great film, a jubilant, chaotic, and overactive silent romantic comedy that, intentional or not, doubles as a vision of the precarity of celebrity, independence, and artistry in the brutal Hollywood system.
As with Da 5 Bloods, Spike Lee's films are replete with experimental aesthetics that deconstruct the conventions of (white) Hollywood and re-frame and re-contextualize Black lives and Black history.
Directors Claude Sautet and Andrzej Zulawski turn the camera's gaze on the glorious Romy Schneider in these four drama, romance, and crime films available from Film Movement and Kino Lorber.
Led by a misanthropic yet oddly charming performance from Jean Dujardin, Quentin Dupieux's take on the midlife crisis, Deerskin, gains power from the absurd and the enigmatic.
Have a peak behind the censored curtain, if you dare, with Dwain Esper's Marihuana and Narcotic, Crane Wilbur's Tomorrow's Children and Harry J. Revier's Child Bride. These exploitation films are certain to provoke.
James Wan's supernatural ventriloquism film, Dead Silence, was buried alive in the catacombs of cinema's history by a mountain of awful reviews upon its release. But its take on the horrors of misogyny may compel you to watch it now.
While philosopher Stanley Cavell endeavors to show that we must mean what we say in a very important sense, Godard's Bruno Forestier of Le Petit Soldat suggests that we simply cannot and must not mean what we say.
Judd Apatow's latest arrested development comedy, The King of Staten Island, is short on laughs and long on running time.
The passage of time tends to make old films more interesting, such as these seven films of the late '40s and '50s from British directors John Boulting, Carol Reed, David Lean, Anthony Kimmins, Charles Frend, Guy Hamilton, and Leslie Norman.
Serious science fiction often takes a backseat to the more pulpy, crowdpleasing genre entries. Here are 10 titles far better than any "dogfight in space" adventure.
The four haunting tales of Masaki Kobayashi's Kwaidan are human and relatable, as well as impressive at a formal and a technical level.
What if I told you that the director of one of the most heartwarming and beloved Christmas movies of all time is the same director as probably the most terrifying and disturbing yuletide horror films of all time?
Alastair Sim belongs to those character actors sometimes accused of "hamming it up" because they work at such a high level of internal and external technique that they can't help standing out.
The works of silent filmmakers Alice Guy Blaché and Julia Crawford Ivers were at risk of being forever lost. Kino Lorber offers their works on Blu-Ray. Three cheers for film historians and film restoration.
Streaming services and large TV screens have really hurt movie theaters and now the coronavirus pandemic has shuttered multiplexes and arthouses. The author of The Perils of Moviegoing in America, however, is optimistic.
These WWII films from directors Alberto Cavalcanti, Guy Hamilton, Michael Anderson, Leslie Norman and J. Lee Thomson are excellent studies in history, filmmaking, and wartime propaganda.
The many symbols throughout Stoker should be viewed as parts of a puzzle to be solved -- or not.
The sense of artifice in Wes Anderson's The Grand Budapest Hotel helped him create an alluring reverie of both color and meaning.
Peter Medak's documentary about his ill-fated 1974 pirate comedy, The Ghost of Peter Sellers, is less bonkers tale of a production gone mad than therapeutic excursion into a traumatic memory.
While all films project a world that might be, certain films and certain filmmakers, like Karel Zeman, come closer than others in bringing to the surface the underlying phantasmagoric essence of cinema.
The first half of Deadpool 2, in which Vanessa is murdered and Wade becomes purposeless and suicidal, is a slog. The second half, where Wade commits to defending an angry teenage mutant, positively soars with fantastic action and some of the funniest superhero film moments in years.
Contrary to the intention of Ken Liu's short story, "Good Hunting", Netflix presents a superficial arc of female empowerment, then allows animation and the role of male characters to undercut that message.
Russell Rouse's The Oscar is fabulously gaudy and kitschy, with overdone sets and costumes. The film practically hyperventilates in mood, story, and acting. You should see it.
Tim Brooks' detailed research tells us how blackface didn't die, but found ways to multiply as the entertainment industry grew.
The focus on Thanos single-handedly saves Avengers: Infinity War from becoming the overstuffed mess many feared and lends the film a relentless action pace more akin to Mad Max: Fury Road than a superhero blockbuster.
Colin Stetson discusses his process for scoring film and artistic satisfaction it gives him. "I get to invent a new array of solutions with novelty and identity. I hope the music has not existed in the particular guise and aesthetic before that."
Bong Joon-ho's scathing Parasite reflects Montesquieu's critique that the decline of civic virtue causes great social inequality, which then incurs greed, envy, and violence.
Journey back to 2010 to experience the best independent and international films from a time when our biggest worries involved "wars on terror". These films are highlighted by a host of superb documentaries, a stellar film from China, and one of the finest works of "hillbilly noir" ever.
Inspired by D.W. Griffith's Intolerance, Vsevolod Pudovkin would leave his chemistry studies for cinema. His films Mother, The End of St. Petersburg, and Storm over Asia are presented in The Bolshevik Trilogy.