Catherine Breillat hitches her wagon to the hottest of European stars, Asia Argento, in a highly entertaining adaptation of French dandy Jules-Amédée Barbey d’Aurevilly’s mid-19th-century novel Une vieille maîtresse—once notorious for its treatment of a young libertine’s erotic obsession with a homely 36-year-old woman. Set on the cusp of modern…
Some say the world will end in fire, some—like Werner Herzog—say ice. Flying in the face of global warming, this profoundly idiosyncratic filmmaker leads an expedition, alternately comic and visionary, to the heart of coldness. Herzog’s Encounters at the End of the World chronicles his trip to Antarctica. The film…
As old Broadway shows are revived, new Broadway shows get spun from old movies so that new movies may be fashioned from ancient TV series. It’s an iron law of the culture industry that turns out to be a pleasant surprise in the case of Get Smart, the late-’60s sitcom…
CANNES, France—No need for dreaming here. Each Cannes Film Festival generates its own metaphors for a 10-day regimen of visions in the dark. It’s impossible to forget, let alone transcend, one’s unnatural situation here. The opening film of Cannes’s 2008 edition clobbered participants with a cautionary allegory. Regardez: The civilized…
It’s been 20 years since Errol Morris made The Thin Blue Line—a found “noir” that served to free an innocent man convicted of murder. Gathering evidence and dramatizing testimony, Morris’ movie circled around a single, unrepresentable event—the death of a cop on a lonely stretch of Texas highway. The Thin…
David Mamet’s Redbelt is a tricky bar brawl—call it the Roundhouse of Games. The writer-director has scarcely abandoned his sense of the movies as an innately duplicitous medium, one best suited to stories that play out as conspiratorial chess matches. But, with his 10th feature—an entertaining tale of high-stakes martial…
Converting a fondly remembered cartoon series—one of the first Japanese animes syndicated on American TV—into a prospective franchise, the Matrix masters, Larry and Andy Wachowski, have taken another step toward the total cyborganization of the cinema. Even more than most summer-season f/x fests, Speed Racer is a live action/animation hybrid…
Morgan Spurlock, the daredevil documentarian who lived on Big Macs for a month and turned this exercise in “body art” into the 2004 hit Super Size Me, returns—this time expanding his horizons rather than his girth. Paraphrasing the title of a venerable computer game, Where in the World Is Osama…
The pleasing circularity of Gus Van Sant’s masterful Paranoid Park is not only a function of the film’s narrative structure but reflects the arc of its maker’s career. Few directors have revisited their earliest concerns with such vigor. Van Sant’s debut, the 1985 Mala Noche, was a moody drizzle of…
A great brooding thundercloud of a movie, Paul Thomas Anderson’s There Will Be Blood arrives as if from nowhere on a gust of critical acclaim, lowering over a landscape of barren mesas and hot, scrubby hills. Anderson’s epic, no less than his career, is both fearfully grandiose and wonderfully eccentric…
It’s that time of year again. Our six critics don’t always (or often) agree, but we’ve combined their top 10 lists (allowing for ties) to pretend like they do! So without further ado, the 10 (or 15) best movies of the year, kind of: There Will Be Blood The Texas…
Youth Without Youth, Francis Ford Coppola’s self-financed return to the fray, is a curious project—well-crafted, personal and movie-movie old-fashioned even in its vanguard aspirations. Simply put, it’s a Faustian romance about the reversal of time and transmigration of souls which, shot mainly in Romania, adds a soupçon of Balkan chic…
Paul Schrader’s cinema is largely defined by the pathology of his male protagonists, and with The Walker, he’s added a striking new character to his gallery of loners. Carter Page III (Woody Harrelson) is the degenerate scion of a political family. Openly gay and eminently presentable, this American aristo makes…
Jonathan Demme, who directed Tom Hanks to an Oscar as the AIDS-afflicted lawyer in Philadelphia, may be the most well-meaning filmmaker in Hollywood; Jimmy Carter, winner of the 2002 Nobel Peace Prize “for his decades of untiring effort to find peaceful solutions to international conflicts, to advance democracy and human…
I’m Not There is the movie of the year — but to whom does Todd Haynes’s Bob Dylan biopic actually belong, and when was it really made? The great attention-grabber of last month’s New York Film Festival, I’m Not There is as notable for its stunt casting as its elusive…
A doom-ridden pulp cabalist with a dark sense of purpose as well as humor, Richard Kelly shoots the moon with his rich, strange and very funny sci-fi social satire, Southland Tales. Kelly’s debut, Donnie Darko, was the first post-millennial cult hit; his second feature, Southland Tales, achieved film maudit status…
Before the Devil Knows You’re Dead is less Sidney Lumet’s comeback than his resurrection. Three years after being presented a Lifetime Achievement Oscar, the 83-year-old director comes forth with a violent family melodrama that is his strongest movie in at least two decades. Robustly directed from Kelly Masterson’s bear-trap screenplay…
Named for the spot in Christian fundamentalist hell where sinners are condemned to spend eternity, Tony Kaye’s Lake of Fire is a provocatively beautiful movie on the hottest hot-button issue in American life: a woman’s right to an abortion. The British-born Kaye, an enormously successful maker of deluxe TV commercials,…
American Gangster is a movie with obvious gravitas and a familiar argument: Organized crime is outsider capitalism. As archetypal as its title, Ridley Scott’s would-be epic aspires to enshrine Harlem dope king Frank Lucas in Hollywood heaven, heir to Scarface and the Godfather. Or, as suggested by the Mark Jacobson…
Calling all pundits. It’s a baffling caprice of the zeitgeist to have two studio Westerns released in the same month, 30-odd years after the genre basically gave up the ghost. James Mangold’s better-than-competent and highly crowd-pleasing 3:10 to Yuma has provided a harmonica fanfare for something more ambitious and polarizing…
I’ve said it before and hope to again: David Cronenberg is the most provocative, original and consistently excellent North American director of his generation. From Videodrome (1983) through A History of Violence (2005), neither Scorsese nor Spielberg, and not even David Lynch, has enjoyed a comparable run. A rhapsodic movie…
Huffing and puffing to resuscitate a long-moribund genre, James Mangold manages to imbue a 50-year-old Western with the semblance of life. Mangold’s remake of 3:10 to Yuma isn’t as startling a resurrection job as his Johnny Cash biopic, but it does send a saddlebag full of Western tropes skittering into…
