• Beautiful Something Left Behind

    Beautiful Something Left Behind


    First saw this as part of the SXSW jury early last year, where we gave it the documentary award. (It was called AN ELEPHANT IN THE ROOM back then.) This is a tough, tough watch — given the subject matter — but dear god is it beautiful.

  • Capital in the Twenty-First Century

    Capital in the Twenty-First Century


    This turned out to be way more moving (and, dare I say, "entertaining"?) than I had anticipated.

  • Crossing Delancey

    Crossing Delancey


    Is it just me or does everything in this movie (the places, the people, the attitudes, the city) feel like it went extinct fifty years ago?

  • Between the Lines

    Between the Lines


    Couldn’t tell you the plot of this movie (which I’ve now seen twice) but I could tell you what I personally think each of these characters had for breakfast. That’s cinema.

    Also, be sure to read Vikram Murthi’s excellent piece on the film here: www.vulture.com/2019/02/how-a-1970s-jeff-goldblum-film-foresaw-the-journalism-crisis.html

  • The Presidio

    The Presidio


    Watching this effectively atmospheric but half-baked mystery, I kept thinking about how much Mark Harmon looked like Tom Cruise in this. The problem is, Mark Harmon, while not a bad actor and certainly a ridiculously handsome man, is not that interesting an actor. Then I got to thinking about how if Tom Cruise had been in this movie, it would somehow be 99.99% the same movie, with pretty much all the exact same flaws, and yet somehow it would probably…

  • For Your Eyes Only

    For Your Eyes Only


    Umpteenth viewing. Lame villain aside, this is still probably my platonic ideal of a Bond movie. That it was the first Bond movie I saw back when I was a kid might also have something to do with it.

  • The Outrage

    The Outrage


    Pretty sure if you screen this movie today you will be taken straight to jail.

  • At Any Price

    At Any Price


    Could not possibly be more on the nose, but also just really entertaining. Also, could Ramin Bahrani be one the most American of filmmakers working today? (Which makes WHITE TIGER more interesting as a project.)

  • Resurrection



    A SE7EN ripoff that winds up being even sicker than SE7EN. Full of narrative idiocy, and asking Christopher Lambert to express complex emotions is never a good idea. But trust Russell Mulcahy to push such retrograde material to its glorious extremes. Good movie to end 2020 on and an even better one to start 2021 with.

  • Le Trou

    Le Trou


    Will have more on Becker soon, but for now, here's what I wrote on this last year: www.villagevoice.com/2017/06/27/the-triumphant-return-of-the-jailbreak-classic-le-trou/

  • The Goddess

    The Goddess


    As a story of the rise & fall of a Hollywood starlet (apparently modeled after a combo of Marilyn Monroe and Ava Gardner) this melodrama falls apart as a story, but the attention to behavior and mundane detail is remarkable. The best moments just follow the lead character as she does the simplest things: Pouring herself some cereal and then remembering to feed the cat, for example, or a late scene where she and her husband come home and get settled in, the tension between them thoroughly lived-in.

  • Texasville



    Eh. Bogdanovich was at his best when working in a classic vernacular - Picture Show, Paper Moon, What's Up Doc? all feel like they could have been made 10-20 years earlier than they were. Texasville ambles along pleasantly enough, but it has none of the patience of Picture Show, its stylistic grace, or even really its sense of place. Bridges excellent at playing one of his patented All-American Losers. But the real MVP here, amazingly enough, might be Cybill Shepherd.…