Marie Antoinette is arguably the centrepiece of Coppola’s MTV-inflected career, conceived as it was as a sort of love letter to the music and music videos she loved as a teenager. Read More
A Prairie Home Companion is a tender meditation on music, memory, and death that holds Robert Altman’s final goodbye inside it like a fly in amber, preserved for all who will listen. Read More
If anything unites Gene Kelly's classic musicals, it’s a belief that no past experience could be horrific enough to prevent you from letting loose that whole-human-race encompassing smile and falling in love with life all over again. Read More
It’s easy to write off a movie like Bram Stoker’s Dracula, so married as it is to the neon tackiness of the early 1990s; it’s much harder to recognize that placing itself squarely into that context is an extraordinary device. Read More
On Fantastic Mr. Fox and the contradictory, complementary visions of Wes Anderson and Roald Dahl. Read More
Uncut Gems is itself an uncut gem—jagged and terrifying on the outside, yet encompassing a startlingly beautiful and cosmic humanism within. Read More
Sometimes, the only thing a woman can do is let herself be seen on her own terms. Read More
In probing the depth of Jesus’s humanity, Martin Scorsese makes the sacrifice of Christ all the more fulfilling, real, tortured, and true. Read More
Whether by accident or instinct, Carnival of Souls captures a sense of alienation. And the film itself, fiercely independent, with a singular vision, experienced a similar outcome as its protagonist. Read More
A Journey Through The Funky Fanfare of Once Upon a Time…in Hollywood Read More
Kelsey Ford on murder mysteries, gentleman sleuths, and Rian Johnson's Knives Out. Read More
Instead of taking issue with the facts of what Frank Sheeran tells us, The Irishman unravels the way he positions himself within his account. Read More