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Featured Movie Of The Week

The human nature of Werner Herzog’s Grizzly Man

by Scott Tobias

A Movie Of The Week month devoted to the theme of man vs. nature kicks off with a look at Werner Herzog’s stunning examination of self-proclaimed bear expert Timothy Treadwell.

  • There’s a long tradition of cisgender actors playing transgender roles—often to great acclaim. But trans actors have started to make waves on television, and a winning comedy could help change things in movies, too.

    Why Tangerine could be a turning point for transgender actors

    by Andreas Stoehr
  • On every level of calculation, the film is about servicing women’s sexuality; it’s an open, repeated plot point. But the film has some strange, sticky ideas about what turns women on.

    Female pleasure looks mighty odd in Magic Mike XXL

    by Tasha Robinson
  • From the late 1970s to the late 1990s, Penelope Spheeris made three music documentaries that doubled as snapshots of a particular time in California. With the release of a new Blu-ray set, the director looks back on the process.

    Penelope Spheeris on the long-overdue return of her Decline Of Western Civilization trilogy

    by Simon Abrams
  • A conversation about The Killer covers its auspicious arrival in America, its lasting legacy, and whether or not John Woo lays on the melodrama thickly.

    Forum: The Killer

    by Mike D'Angelo and Scott Tobias
  • As Hong Kong directors like John Woo, Tsui Hark, and Ringo Lam made their way to Hollywood in the 1990s one star helped them get there: Jean-Claude Van Damme. The weird thing: It kind of worked.

    When Jean-Claude Van Damme became Hong Kong’s gateway to Hollywood

    by Charles Bramesco
  • The subject of Granik’s documentary was a minor player in Winter’s Bone. After years of filming him, she put together an emotional portrait of poverty, PTSD, and his many survival tactics.

    Winter’s Bone director Debra Granik says her new Stray Dog is a love letter to America

    by Tasha Robinson
  • Conceived as a means to push the limits of computer animation, Pixar has evolved from a problem-solving wing in a tech company to an assured teller of moving stories. But its success as the latter has its roots in the former.

    Pixar’s films put technology and storytelling hand-in-hand

    by Noel Murray
  • Though Woo’s influences range from Sam Peckinpah and Martin Scorsese to Le Samouraï and Magnificent Obsession, his breakthrough hit brought his own distinct style to a bullet-riddled gangster melodrama.

    The sincerity and sensation of John Woo’s The Killer

    by Keith Phipps
  • Producer James Gay-Rees and director Asif Kapadia talk about why they turned their documentary Amy around so quickly, how they built trust with Winehouse’s media-shy former friends, and the hidden woman they reveal.

    Amy’s filmmakers on the secret, real Amy Winehouse

    by Keith Phipps
  • Our new feature digs into multiple version of the same film. First up: James Cameron’s The Abyss, an ambitious underwater adventure that attempted to do for the seas what 2001: A Space Odyssey did for outer space.

    Which version of James Cameron’s The Abyss is better?

    by Keith Phipps
  • Starting with the watershed moment of Sigourney Weaver’s tough-as-nails space heroine, we look at some of the female roles that broke ground, dodged stereotypes, and paved the path for today’s increasingly diverse women on film.

    The 50 most daring film roles for women since Ripley

    by Mike D'Angelo, Kate Erbland, Rachel Handler, Genevieve Koski, Noel Murray, Keith Phipps, Tasha Robinson, Scott Tobias, Genevieve Valentine
  • The conversation around Sofia Coppola’s debut continues with a discussion of death, nostalgia, and teenagers.

    Forum: The Virgin Suicides

    by Keith Phipps and Tasha Robinson
  • From The Virgin Suicides through The Bling Ring, Coppola turns up the volume even when her characters can’t express themselves.

    In Sofia Coppola’s films, music says what characters can’t

    by Hazel Cills
  • After Star Wars’ success, the gold rush was on for cheap space adventures from around the world, from a laser-blasting American kid to a Japanese movie with Sonny Chiba and Vic Morrow to an Italian production starring a young David Hasselhoff. 

    In 1978, a trio of films rushed to feed the craze for science fiction

    by Keith Phipps
  • Coppola’s career-long concern with looking in, looking out, and characters feeling trapped no matter which side they’re on begins with her remarkable debut.

    The Virgin Suicides is a window into Sofia Coppola’s fixations

    by Genevieve Koski
  • The lead director and co-writer of Pixar’s latest animated movie talks about characters he cut (including Pride, Hope, and Schadenfreude), dead ends and problems, and why it’s so expensive to make textured, glowing CGI characters.

    Pete Docter on the goals and milestones of Inside Out

    by Tasha Robinson
  • Grim real-world events cast a shadow on this year’s AFI Docs, a festival of new documentaries that, at its best, doubles as a mirror of what’s going on in the world.

    Parsing tragedy through documentary at AFI Docs

    by Andrew Lapin
  • Several Pixar films have already addressed the poignancy of childhood’s end. But in Inside Out, the studio gets brutally honest about coming of age.

    In Inside Out, Pixar gets mature about growing up

    by Jen Chaney
  •  Is Alfonso Gomez-Rejon’s film as blinkered as its critics claim? One writer’s recent personal history leads him to suggest otherwise.

    This is the part where I defend Me And Earl And The Dying Girl

    by David Ehrlich
  • The debuting writer-director of the Essential Viewing pick Gabriel talks about learning film at Harvard, working under Hal Hartley, and building realistic, natural dialogue.

    Writer-director Lou Howe on building Gabriel from the inside out

    by Tasha Robinson
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