When Richard Linklater was in second grade, he became enthralled by the historical moment that was happening right in his Houston backyard as NASA prepared for the Apollo moon landing. Decades later, it occurred to Linklater that he was probably the only filmmaker who remembered the excitement of that moment and was also that geographically close to NASA, a realization that led to his latest feature as writer-director, Apollo 10½: A Space Age Childhood. Combining the delicate observational eye and ear of Boyhood with the more fantastical animated approach of Waking Life and A Scanner Darkly, Apollo 10½ tells the […]

When German director Douglas Sirk fled the Nazis in 1937 and planted his flag in Hollywood, he quickly became a reliable studio craftsman equally adept at war films (Hitler’s Madman, Mystery Submarine), musicals (Slightly French), comedies (No Room for the Groom, Has Anybody Seen My Gal?) and Westerns (Taza, Son of Cochise). Nevertheless, today his reputation rests almost entirely on the melodramas made in the last five years of his career: movies like Magnificent Obsession, All That Heaven Allows, and The Tarnished Angels, whose heightened emotions justify Sirk’s most delirious flights of visual fancy. A brilliant smuggler, Sirk had it […]

My first recommendations this week are two Blu-rays that are worth picking up not just because they’re terrific movies, but because they come with superb audio commentaries packed with useful information. They’re both comedies, though the first, Sean Baker’s Red Rocket, leaves a bit of a rough aftertaste thanks to the sly way in which Simon Rex’s revelatory performance sneaks up on the viewer. His recent Independent Spirit Award win was well-deserved, as I can’t think of many actors who could have so skillfully walked the line between playfulness and predation; as fading porn star Mikey, Rex beautifully projects an […]

In the 1940s, actress Ida Lupino was one of Warner Bros.’ most reliable contract players, a performer who exuded a tough intelligence in terse genre movies like High Sierra and They Drive by Night. As independent-minded as her characters, Lupino irritated the front office with her refusal to accept sub-par roles and was eventually fired, a development that might not have been great for her bank account but which instigated her most fertile period as an artist. Instead of waiting for the phone to ring, Lupino formed an independent production company and began directing her own pictures, some of which […]

From its opening shot of a curtain rising on a London cityscape to its climactic revelation that an earlier flashback sequence was a lie, Stage Fright (1950) is one of director Alfred Hitchcock’s most intriguing and playful investigations into the cinema’s power to deceive and manipulate. After Stage Fright received mixed reviews and collected lackluster returns at the box office, Hitchcock regretted tricking the audience with the unreliable narrator of the film’s controversial flashback, but I think the bold audacity of that device is actually one of the greatest strengths of a movie that has many, from the cleverly designed […]

Walter Mirisch is best remembered today as the producer of studio prestige releases like In the Heat of the Night, The Apartment, and the original West Side Story, but before he became one of Hollywood’s most reliable sources of “A” pictures he toiled away in the “B” trenches of Poverty Row company Monogram. He kept the studio in the black with his Bomba the Jungle Boy series, but before establishing that franchise he produced a pair of noir movies based on material by Cornell Woolrich, the suspense writer who would hit paydirt with Hitchcock’s Rear Window. Mirisch’s first solo Monogram […]

1992 was a year of high points for filmmaker Ernest Dickerson, who ended his career as a director of photography with Spike Lee’s majestic bio-pic Malcolm X and began life as a feature film director with the superb teen noir Juice. While Malcolm X may have been more epic in scope, Juice was, in its own compact way, a work of strong ambition and audacity as well, a flawlessly executed coming of age tale that borrowed from Mean Streets, Italian neorealism, and German expressionism but synthesized its influences with Dickerson’s awareness of contemporary New York street life to yield a […]

Director Mark Pellington has long been one of the American cinema’s great chroniclers of grief, from early genre films like The Mothman Prophecies (in which the horror story is a vehicle for an unsettling, affecting tale of personal anguish) to more overtly philosophical takes on the subject like I Melt With You, The Last Word, and Nostalgia. While Pellington’s work is undeniably informed by the devastating loss of his wife Jennifer in 2004, it has tended, up until this point, to come at the subject from oblique angles, as in the 2008 dramedy Henry Poole Is Here. With his latest […]

Compiling my annual list of the year’s ten best Blu-ray releases (or, to be more accurate, my ten personal favorites), I have come to the conclusion once again that reports of the death of physical media have been greatly exaggerated – there were easily another three or four dozen titles in 2021 worthy of placement on the list, and I can’t even begin to claim familiarity with more than a small percentage of everything that was released. But these are ten titles I can confidently recommend, not only for the fine transfers of superlative films but for the lovingly produced […]

In the new Netflix film Mixtape, 12-year-old Beverly (Gemma Brooke Allen) tries to learn about her late parents by tracking down the songs they loved, a task made difficult by the pre-iTunes and Spotify era in which the movie takes place. The quest to find the songs—a necessity for Beverly given the unwillingness and inability of her grandmother (Julie Bowen) to answer questions about her mom and dad—yields one of the sweetest, smartest, funniest, and most touching coming of age dramedies since Stand By Me, a film with which Mixtape both invites and earns comparison thanks to its skillfully calibrated […]

Writer-director Rawson Marshall Thurber makes movies that are so impeccably crafted and deliriously funny that it’s easy to take them for granted; like the classical Hollywood directors of the 1940s to whom he often pays homage, Thurber employs an elegant but invisible style in which an immense amount of effort goes into making his films look effortless. This is particularly true of his latest release, Red Notice, a caper movie of enormous scale that nevertheless remains light on its feet, fast and funny and romantic in the way Ernst Lubitsch and Preston Sturges movies used to be while still delivering […]

Barry Sonnenfeld was less than ten years into a successful career as a cinematographer—with credits including Blood Simple, Raising Arizona and When Harry Met Sally on his resume—when he sat down in the director’s chair for the first time on 1991’s The Addams Family. It followed what turned out to be his last job (Misery) as director of photography; from that point on Sonnenfeld would work exclusively as a director, and occasional producer, on visually inventive and conceptually ambitious comedies like the Men in Black trilogy and Pushing Daisies, continuing to hone the dynamic style he had established as a DP. […]

Among graduates of the “Roger Corman film school,” Jonathan Kaplan doesn’t have the same level of name recognition as Martin Scorsese, Jonathan Demme, or Francis Coppola, but he clearly learned the same lessons they did while plying his trade directing exploitation flicks for Corman’s New World Pictures. Although it might seem like the only thing Kaplan’s films have in common is that they have nothing in common – his filmography includes blaxploitation (Truck Turner), Oscar winning and nominated dramas (The Accused, Heart Like a Wheel), science fiction (Project X), Westerns (Bad Girls), and one of the greatest teen movies ever […]

Gus Van Sant’s 1989 masterpiece Drugstore Cowboy is one of the seminal films of its era, a movie both timeless and completely of its time; like the 1940s noir pictures it echoes and expands upon, it’s a weary reaction to its moment (in this case the age of Reagan and the first Bush) that taps into enduring truths about marginalized and desperate people yet does so with surprising humor and vitality. Matt Dillon gives one of the best performances of his career as the title character, an addict who feeds his habit not by buying or stealing drugs on the […]

When screenwriter, director, producer, actor, novelist, stock options trader, playwright, musician, newspaper columnist and gallery artist Melvin Van Peebles died last week at the age of 89, he left behind one of the most varied and entertaining bodies of work in all of American (and French, thanks to his Parisian detour in the 1960s) arts and letters. He’s best known for his revolutionary 1971 feature Sweet Sweetback’s Baadasssss Song, but that classic—important as it is as a point of reference and inspiration for generations of independent filmmakers—only scratches the surface of Van Peebles’s genius and audacity. Thankfully, the Criterion Collection […]

In the summer of 1997, a season characterized by gargantuan spectacles like The Lost World, Con Air, The Fifth Element, and Batman and Robin, a modest thriller by an unknown young director surprised audiences, critics and probably even its own financiers by becoming a sleeper hit thanks to its classical virtues and relentless determination to put the viewer in the palm of its hand and squeeze. The film, Breakdown, began when Dino de Laurentiis hired low-budget filmmaker Jonathan Mostow to write and direct a new adaptation of Stephen King’s short story “Trucks,” which King had already directed himself as Maximum […]

Since the moment 4K discs hit the market, the Star Trek movies have been among sci-fi fans’ most eagerly anticipated titles. This week the first four have finally arrived on the format in the “Star Trek: The Original 4-Movie Collection” set, and I’m happy to say it was worth the wait – the transfers on all four titles, particularly the original, are immaculate. Revisiting them back-to-back, the most interesting thing about the films is how different each one is from the one that came before it; there’s a surprising degree of trial and error as the filmmakers apply varied methods […]

British director Lewis Gilbert is largely forgotten today, but in his heyday he helmed a number of classic films ranging from comedy (the 1966 Alfie, which made Michael Caine a star) and war films (Sink the Bismarck!) to franchise action (three James Bond movies including one of the series’ finest, The Spy Who Loved Me). Though his later career was devoted mostly to character-driven dramedies like Educating Rita and Shirley Valentine, Gilbert’s penultimate effort Haunted (1995) is one of the smartest and eeriest horror flicks of its era. Executive produced by Francis Coppola and photographed by Merchant-Ivory stalwart Tony Pierce-Roberts, […]

Ever since his directorial debut with The Indian Runner in 1991, Sean Penn has been intent on keeping a certain tradition of American cinema alive: the tradition of directorially self-effacing, behavior-driven movies for adults in which complicated men and women find themselves unable to get out of their own and each other’s way. It’s the school of filmmaking practiced by John Cassavetes, Hal Ashby and Bob Rafelson, on whose work Penn builds with movies that fuse character and landscape to get at something unique and complex about American identity and culture. His latest film, Flag Day, stands alongside The Indian […]

Barbara Crampton has been acting in horror movies for almost 40 years now and has classics like Body Double and Re-animator on her resume (alongside more recent cult favorites such as Lords of Salem and You’re Next), but she’s never had a part that utilizes her talents as thrillingly as the title role in Jakob’s Wife. An insightful meditation on the precarious difficulties of maintaining a marriage that also manages to deliver the horror movie goods with terrifying and often hilarious gusto (imagine Ingmar Bergman’s Scenes From a Marriage crossed with early Sam Raimi), Jakob’s Wife tells the story of […]