The writer-director talks about how his movies’ dynamics have evolved, and why he stands up for so-called unlikeable characters.
Hanks delivers an Academy Award-worthy performance in Turner & Hooch, which casts him as a neatnik cop paired with a slobbering dog.
The rapper/producer has made a handful of shorts, which double as the auto-hagiography of a flawed pop god.
With an “unauthorized” R-rated cut of his thinly fictionalized portrait of Dominique Strauss-Kahn hitting theaters this week, director Abel Ferrara sounds off on the film’s troubled post-production.
Our guide to the man behind the new While We’re Young traverses 20 years of filmmaking in three days.
Our discussion of Midnight Run explores the film’s miraculous alchemy, the hilarious and touching buddy tension between Robert De Niro and Charles Grodin, and its wealth of great supporting actors.
Robert De Niro gets the flashy monologues in Martin Brest’s buddy comedy, but Charles Grodin steals scenes simply by observing and reacting.
The account created to bash Alex Gibney and his Scientology exposé Going Clear is comically inept, and suggests no understanding of social media.
From 1936’s Dracula’s Daughters to 2014’s A Girl Walks Home Alone At Night, portrayals of female vampires have always doubled as commentaries on feminism.
The writer-director brother team of Nathan and David Zellner discuss how a decade-old urban legend inspired their melancholy movie about a Japanese woman chasing the buried money from the Coens’ Fargo.
Released eight years after 48 Hrs., a misguided attempt to recreate the film’s magic plays like a rehash.
Why is Andrew Jarecki’s The Jinx, a non-fiction miniseries about Robert Durst, so much more compelling than Jarecki’s earlier attempt to tell it as a narrative film?
A discussion of 48 Hrs. covers how it launched Eddie Murphy’s film career and continued Walter Hill’s hot streak.
Eddie Murphy doesn’t show up until 24 minutes into Walter Hill’s 48 Hrs., but his savvy mix of toughness and bluster affected its edgy racial chemistry and made him a star.
Shut up, ladies. Sit down, cooperate, and above all, be nice. You’ll get rewarded for it… eventually.
Mary Elizabeth Winstead’s husband talks about his feature writing-directing debut, Faults, co-starring Winstead as the captive of a troubled, faltering cult deprogrammer.
The subject of an intense feud between Pixar and DreamWorks, 1998’s Antz exists in the shadow of the much better Pixar film released months later.
Recent horror scores have been dominated by derivative dissonance and jolts. But innovative composers like Rich Vreeland (It Follows) and Jonathan Snipes (Starry Eyes) are pushing the genre in other directions.
A bout of stage fright led the actor/writer/director to seek the counsel of classical pianist Seymour Bernstein. That in turn led to Hawke’s first film as a documentary directory, Seymour: An Introduction. Here, Hawke discusses Bernstein and what growing older has taught him about creativity.
The annual Missouri-based festival highlighting documentary films captured a form in the process of changing with the times.
Now 30 years old, John Hughes’ most beloved teen film is all about the kids. But it has more empathy for its grown-ups than those who grew up with the movie probably suspected.