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.
Martin Scorsese doesn't say anything startlingly new about his subject in George Harrison: Living in the Material World, but it's a skillfully crafted and compelling portrait all the same.
The events in Asghar Farhadi's A Separation, winner of the Golden Bear at this year’s Berlin Film Festival, seem both chaotic and inevitable, unfolding like a slow-motion disaster.
Roman Polanski's Carnage lays bare the ugliness and pettiness of guilty rich people. And, oh yeah, it's hilarious from beginning to end.
In 1889, Friedrich Nietzsche apparently witnessed the beating of a horse on the streets of Turin. He threw his arms around the horse's neck, sobbing, and then lost consciousness. He then had a mental breakdown from which he never recovered, and never wrote again. That's the story, anyway.
Gloomy Danish director Lars von Trier has made a film, for once, that is not hard to "get." Melancholia is unnervingly powerful from beginning to end.
Moneyball, incredibly, manages to be a thrilling, even romantic movie about scouting reports, salary limitations and on-base percentage.
The movies I can't wait to see this fall.
Steven Soderbergh’s Contagion is a true thriller, conveying claustrophobia and dread as it shows us a world in which city-dwellers are asked to engage in "social distancing" to stem a deadly epidemic.
Something strange is happening with Woody Allen's Midnight in Paris: it is being re-released, due to unexpected popular demand.
Colin Farrell's character in the new Fright Night movie is a sort of rebuke to the self-loathing, unscary vampires of "Twilight," which is good. But the movie is too predictable to be scary. Which is bad.