The whole category of cult movies is a slippery one. Everyone knows what a horror flick or a Western looks like but describing a cult movie is much more subjective. Cult movies can be any genre. They tend to be campy or kitschy or in some other way very strange.[...]
We all know the stages of cinema’s early development: first came the pictures, second came the motion, and third came the sound. But many of us, even reasonably active film buffs, don’t realize how much the art form took its shape between steps two and three.[...]
Kudos to cartoonist Flash Rosenberg for having the huevos to illustrate cult film icon John Waters’ remarks at the New York Public Library in real time before a live audience. The first half minute of this animated Conversation Portrait had me worried on her behalf.[...]
If you are a movie maven, you know about the Criterion Collection. Since the days of Laserdiscs, Criterion has made a name for itself by amassing a vast and thorough catalog of indie films, art house flicks and the occasional blockbuster. They distribute DVDs of directors as diverse as Akira Kurosawa, Jane Campion, and Stan Brakhage.[...]
I’ve often called documentary my favorite kind of film, knowing full well that the label designates less a defined genre than a usefully malleable description. What does a documentary have? An unscripted, nonfictional story; interviews; footage candidly shot — maybe.[...]
French New Wave filmmaker Alain Resnais, who died at the age of 91 last week, changed cinema forever with a string of intellectually rigorous, nonlinear masterpieces like Hiroshima Mon Amour (1959) and Last Year at Marienbad (1961). Both films are about Resnais’s two obsessions – time and memory.[...]
Surely you’ve seen Stanley Kubrick’s version of A Clockwork Orange.[...]
Wes Anderson’s latest, The Grand Budapest Hotel, opens this week and next in selected theaters, and reviews of the film seem to follow what at this point in the director’s career almost feels like a template: discuss the oddities and perfections of Anderson’s stalwart band of actors (always Bill Murray, natch, and often a standout young newc[...]
Last year, I had a chance to interview Steven Soderbergh for Side Effect, his final theatrical feature before his supposed retirement. During our discussion, he mused on the future of cinema.
There’s a new grammar of cinema out there.
A cottage industry quickly sprang up in the early 80s when the first videocassettes made their way to the West African nation of Ghana.[...]