Sheila O'Malley

Griffith's 'Intolerance,' a foundational film that's also a great one, at Film Forum:

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.

Latest Articles:

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‘Living in the Material World’: An ‘honest’ Scorsese documentary about a curious Beatle

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.

Oct. 4, 2011

 
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‘A Separation’: An Iranian culture clash disguised as a tragic, epic domestic drama

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. 

Sep. 30, 2011

 
Article

‘Carnage’: A triumph for Polanski, and the funniest movie about hopelessness you’ll ever see

Roman Polanski's Carnage lays bare the ugliness and pettiness of guilty rich people. And, oh yeah, it's hilarious from beginning to end.

Sep. 29, 2011

 
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‘The Turin Horse’: A tale of animal and human deprivation, and an invitation to feel Nietzsche’s pain

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.

Sep. 27, 2011

 
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‘Melancholia’: Lars von Trier makes a despairing gesture, and this time he has a point

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.

Sep. 26, 2011

 
Article

‘Moneyball,’ Brad Pitt, and the romantic side of baseball nerddom

Moneyball, incredibly, manages to be a thrilling, even romantic movie about scouting reports, salary limitations and on-base percentage.

Sep. 22, 2011

 
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Welcome to the Unsilly Season! Some important new movies that aren’t self-serious Oscar-bait

The movies I can't wait to see this fall.

Sep. 9, 2011

 
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‘Contagion’: A gruesomely timed portrait of airborne infection and urban panic

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.

Sep. 9, 2011

 
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Woody’s second act: ‘Midnight in Paris’ may not be ‘Annie Hall,’ but people keep paying good money to see it

Something strange is happening with Woody Allen's Midnight in Paris: it is being re-released, due to unexpected popular demand.

Aug. 26, 2011

 
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Regular old vampires: ‘Fright Night’ retreats from ‘Twilight’ and Pattinsonism, but not in a good way

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. 

Aug. 19, 2011