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.
Cinema Komunisto documents the vibrant, globally relevant film industry in Tito's Yugoslavia; The Miners' Hymns recalls, with very little annotation, the coalmining region of Northern England.
Three very different documentaries at the Tribeca Film Festival deal with the concept of family, which is often in the news these days in the context of efforts by regressive groups to define what "family" means.
Considering the fact that Egyptians are freshly off toppling their long-entrenched government, Egyptian-American director Hesham Issawi's Cairo Exit may be the most timely film in the entire Tribeca Film Festival.
Michael Winterbottom's The Trip, starring Steve Coogan and Rob Brydon, gets at the underlying sadness of two very funny characters.
A French director has managed the improbably feat of making an entertaining movie that says something new about social media.
Rabies announces Israel as an instant, serious player in the slasher-film genre.
In a Better World is a movie about bullying, and about how power works.
It's probably not fair to judge a Jane Eyre movie on what isn't in it. But that's what you get if you make a movie about an incredibly well-known book.
In Certified Copy, a beautiful, provocative movie about a couple's search for genuineness, Kiarostami gets the audience in on the joke.
Cold Weather is something extraordinary: a sometimes-meandering, but consistently gripping, independent movie that isn't afraid to mean what it says.