Bogart died in 1957, but he enjoyed a series of odd revivals in the 1970s and 1980s that demonstrate we’ve had a hard time letting him go.
In the wake of Vietnam and Watergate, the public’s disaffection and distrust for the government found its way into conspiracy- and secret-fueled movies like The Parallax View, Capricorn One, and even Disney’s The Cat From Outer Space.
The Western-movie heroes that defined the genre were all about courage under fire and dogged self-determination. John Huston’s neo-Western takes a different tack entirely.
Two writers talk over the enduring themes, visuals, and references of John Huston’s 1948 neo-Western classic.
Stewart started as the face of a not-so-respected vampire franchise. But her recent work in films like Clouds Of Sils Maria and Still Alice suggests her talent extends further, and that she’s just getting started.
The charming stuntman movie Hooper and suicide comedy The End cleaned up at the box-office at a time when the public simply could not get enough Burt Reynolds.
From the start, Anderson has let the often-difficult relationships between fathers and sons drive his films, which has produced some fascinating variations.
The star and director of the twisty, self-referential drama discuss the special qualities of acting in a second language and the importance of doing more by doing less.
The troubled studio is trying to do a little of everything, from ambitious, groundbreaking storytelling to safe family fun. But the company is in deep trouble, and its problem may be branding.
The screenwriter of 28 Days Later and Sunshine makes his directorial debut with this small, intense science-fiction feature, which mixes abstract musings and direct action.
Our Movie Of The Week discussion of The Master examines Paul Thomas Anderson’s motives in evoking Scientology, his rationale for shooting in 65mm, and his ongoing interest in the histories of California and America.
Paul Thomas Anderson’s 2012 film draws on the history of Scientology, but also on a John Huston documentary about post-war PTSD—and the deceptive belief in the natural healing powers of youth.
As the Marvel Cinematic Universe movies pile up, Winter Soldier starts to represent a watershed, a sign that it’s possible to respect the series’ needs but still produce a flavorful movie.
Coming off their cancelled TV show, the manufactured group rebelled against their image with this trippy, defiantly uncommercial flop. They punctured their image—and their careers.
The director of “Rejected,” “It’s Such A Beautiful Day,” and other cult stick-figure animation discusses, trying to direct a 4-year-old, his experiment on The Simpsons, and how his films make friends without him.
Romy And Michele’s High School Reunion won over audiences, and attracted a years-long following, by foregrounding the relationship between two lifelong friends. Why haven’t more films followed its example?
Is the language of film really universal? A writer describes his recent film-festival experiences in watching unsubtitled movies in languages he doesn’t speak.
The buddy comedy found a new form in this lively, funny story about how friendship is more important than traditional forms of success.
Two writers talk over the tiny miracle of a female-driven buddy comedy with the balls to be its silly, featherweight self.