Playing this week in a brand new restoration at the Film Forum, with a new effective score by Carl Davis (conducted by Davis and performed by The Luxembourg Radio Symphony Orchestra), Intolerance is almost 100 years old and is an extraordinary accomplishment, and far more than a curiosity, or just an artifact of cinema's beginnings.
Bio: Sheila O'Malley's work has appeared in The Sewanee Review and Salon.com. She writes a monthly essay on film for Fandor, and also contributes pieces to The House Next Door, official blog of Slant Magazine. She contributes occasional reviews of film noir classics at Noir of the Week. Her personal blog is The Sheila Variations.
Women in the political realm are still rare enough that they continue to be seen as something of a novelty act when they reach for the brass ring.
There is enough here to tell a great story; there is no need to push so hard. But Spielberg pushes.
2011 has been a very strong year for movies. Although my mind does not naturally form "best-of" lists, these were certainly the stand-outs for me this year.
Mel Brooks has said that Buster Keaton and Charlie Chaplin were his mentors: "I really felt a closeness to Chaplin and to Keaton. How do you tell a story without talking or overacting? How do you simply indicate?"
The part requires Mara to be an avenging Ninja, the smartest person in any room, a wounded child, a trapped and frightened animal and a sexual dynamo.
A highly suspect conspiracy theory about the authorship of Shakespeare's plays made sillier by its film treatment.
"We're not bad people, we just come from a bad place," says Sissy (Carey Mulligan) to her brother Brandon (Michael Fassbender).
The Ides of March, based on a play inspired by the Howard Dean campaign, needs us to believe that a seasoned political operative is capable of losing his innocence.
A Dangerous Method is meant to be a well-balanced triptych, and with an excellent performance by Mortensen as Freud and a very good performance by Fassbender as Jung, but a wildly reaching and wildly ineffective performance by Keira Knightley, it almost gets there.
This Is Not a Film both documents and ensures the death of Jafar Panahi's filmmaking career in Iran.