On 2001, Interstellar, and Love.
Paris, Texas helped me, even while, in some ways, it failed me.
We so often write about films with assertiveness, but the truth is, it’s hard to be certain about anything.
To this day, whenever I meet someone else who loves Drop Dead Gorgeous, I know we’ll get along.
Suspiria’s impact relies less on knowing what is going on, than in having the experience of perceiving it.
Adam's Rib had everything that a young me might have wanted in a film, but my feelings toward it now are a lot more complicated.
The Will & Grace revival episodes are more than the sum of their nostalgic parts—and for the record, those parts were also pretty great.
Manhunter stands in awe of Will Graham’s mental acuity, but it also never fails to confront the danger of that mind—and doesn’t blink at the consequences to Graham’s personal life or his own stability.
Hou Hsiao-Hsien's The Assassin treats unspoken meaning as an art.
Punch-Drunk Love—Paul Thomas Anderson’s fourth film, released when he was just 32 years old—puts you on uncertain footing from the very first frame.
