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Martin Scorsese's Conjuring the Rolling Thunder Revue is the life story of the Bob Dylan who mysteriously reemerged onto the Greenwich Village scene of 1975. Or, at least, it’s a story of that Bob Dylan. Read More
Richard Linklater's Before Midnight is preoccupied with the ways in which both the past and future seem to manifest themselves in the present. Read More
"Genius is a word that’s thrown around a lot, but I think whatever it means, if Elaine May is not a brilliant improviser, nobody is. If Elaine May is not a brilliant actress, nobody is. If she’s not a brilliant writer, nobody is. If she’s not a brilliant director, nobody is. So whatever that word means, you can apply it to her in four different categories at least, and probably more." Read More
On Elaine May’s discarded women in A New Leaf and The Waverly Gallery. Read More
In The Birdcage, jokes aren't simply clever bits of wordplay, but rather a continual give and take. This is the May touch—no one ever fully wins an argument; instead, it’s a constant battle for the last word. Read More
From the moment that Ishtar—a big budget comedy combining the talents of Elaine May, Warren Beatty, and Dustin Hoffman—was announced, its legend has loomed large. Read More
Our humble festival correspondent on Uncut Gems, Honey Boy, The Laundromat, Waves, The Report, No. 7 Cherry Lane, and the second half of TIFF 2019. Read More
Mikey and Nicky is not the story of two men attempting to escape the mob, nor two men reckoning with themselves—it's the story of two boys wholly unequipped to mediate the complex emotions and responsibilities of male adulthood. Read More
What does it mean to look at women through the eyes of a male protagonist in the three films Elaine May directed in the '70s? Read More
I told the almost comically friendly customs agent that I’m in Canada for business and not pleasure, so in the interest of not getting apprehended by the mounties, my top priority remains the almighty cinema. Read More
The Heartbreak Kid as Elaine May’s Master Class. Read More