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Film

Power and Misogyny in 'Red Sparrow'

Red Sparrow isn't a great spy thriller, but it's a fascinating take on women fighting for control over their own bodies.

Music

Hecker: A Script for Machine Synthesis

Hecker presents a dissertation told as much through the way it makes the listener feel as what it tells the listener to think.

Film

In '45 Years' the Quiet Speaks Volumes

A film this quiet and understated needs every element to work in subtle harmony, and Haigh's work has 45 Years humming with dignified vitality.

Reviews

We Suffer for Love, Love Is Suffering: 'The Night Porter'

Liliana Cavani's jarring and morally gray exploration of fascist power dynamics reminds us that just as we go through hell to get to love, love can itself be hell.

Film

Pretty Vacant

The world of The Duchess should have been one of fiery tumult, but little of that foment makes it into this film’s garden party landscape.

Reviews

The Duchess

The movie, which surely celebrates Georgiana's (Keira Knightley) luxurious "hats and dresses," also solicits your sympathetic frustration and outrage over her oppression.

Film

Talk, Talk, Talk: September 2008

From wars both past and present to a number of nail-biting thrillers, September is sizing up as a potentially profitable one.

Reviews

Babylon A.D.

The fact that Aurora incarnates some extreme other possibility -- be it "light" or darkness, miraculous birth or genocide -- makes her one more "mother of the future."

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The Return of the Popcorn Circus: August 2008

Talk about a crowded schedule. There are more offerings scheduled this month than in the previous two combined.

Film

Paul Newman's Influential, Classic Performances in The Hustler and The Verdict

In an era of relatively reserved American cinema, when most actors would be concerned with their images as leading men, Newman was not afraid to experiment and go with his artistic impulses.

Matt Mazur

Film

Heading South (Vers le sud) (2005)

With their newfound sexual empowerment gradually eroded by disillusionment, the women are finally predictable.

Jon Frosch

Reviews

I'll Sleep When I'm Dead (2003)

For all the inevitability of Will's descent, I'll Sleep When I'm Dead is an almost perversely moving experience.

Cynthia Fuchs

Reviews

Orca (1977)

This whale also has special powers, apparently, as he can tell whenever someone is leaning out of Nolan's boat, and so jump right up and swallow him whole.

Erich Kuersten

Film

I'll Sleep When I'm Dead (2003)

Will (Clive Owen) is a menace, even to the bad guys.

Cynthia Fuchs

Film

The Statement (2003)

The Statement is a rarity: a serious, politically-minded thriller.

Michael Healey

Film

Swimming Pool (2003)

Julie becomes Sarah's muse, her model, her irritant.

Cynthia Fuchs

Reviews

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The 10 Best Sappy Love Songs of the 1970s

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Red Sparrow isn't a great spy thriller, but it's a fascinating take on women fighting for control over their own bodies.

Hecker presents a dissertation told as much through the way it makes the listener feel as what it tells the listener to think.

A film this quiet and understated needs every element to work in subtle harmony, and Haigh's work has 45 Years humming with dignified vitality.

Liliana Cavani's jarring and morally gray exploration of fascist power dynamics reminds us that just as we go through hell to get to love, love can itself be hell.

The world of The Duchess should have been one of fiery tumult, but little of that foment makes it into this film’s garden party landscape.

The movie, which surely celebrates Georgiana's (Keira Knightley) luxurious "hats and dresses," also solicits your sympathetic frustration and outrage over her oppression.

From wars both past and present to a number of nail-biting thrillers, September is sizing up as a potentially profitable one.

The fact that Aurora incarnates some extreme other possibility -- be it "light" or darkness, miraculous birth or genocide -- makes her one more "mother of the future."

Talk about a crowded schedule. There are more offerings scheduled this month than in the previous two combined.

In an era of relatively reserved American cinema, when most actors would be concerned with their images as leading men, Newman was not afraid to experiment and go with his artistic impulses.

With their newfound sexual empowerment gradually eroded by disillusionment, the women are finally predictable.

As in the first film, this premise -- that Catherine's plot is a series of lies -- is mildly interesting.

For all the inevitability of Will's descent, I'll Sleep When I'm Dead is an almost perversely moving experience.

This whale also has special powers, apparently, as he can tell whenever someone is leaning out of Nolan's boat, and so jump right up and swallow him whole.

Will (Clive Owen) is a menace, even to the bad guys.

The Statement is a rarity: a serious, politically-minded thriller.

Julie becomes Sarah's muse, her model, her irritant.