Robby Müller’s crisp, surreally lucid black-and-white photography and Neil Young’s beautifully damaged electric guitar score are but two of the standout elements that make up Jim Jarmusch’s sui generis, visionary western, in which timid accountant William Blake (Johnny Depp) comes west from Cleveland for work only to be wounded, set on the lam, and eventually led by a cryptic guide named Nobody (Gary Farmer) on a spiritual journey through a landscape peopled with eccentrics and grotesques.
For thirty years, Marion Stokes, the African American left-wing activist and archivist, secretly recorded television 24 hours a day. Her project began with the Iran Hostage Crisis and ended upon her death some 70,000 tapes later.
Cohen's justly celebrated documentary uses a treasure trove of exhumed footage to investigate the aesthetic of the Third Reich as expressed through the visual arts, popular culture and, perhaps most importantly, architecture.
At eighteen years old, queer Black artist Edward Owens began composing film portraits consisting of superimposted images. A native of Chicago, Owens moved to New York in the late-sixties, following the advice of experimental filmmaker Gregory J. Markopoulos.
A fresco of real and imaginary characters revolving around the artist, Klimt is less a by-the-numbers biopic of the standard bearer for the Viennese Secession than a deep dive into the miasma of the Austro-Hungarian capital at the fin de siècle.
Fuses archival newsreel footage of 1920s Harlem with original scripted scenes, in order not only to recreate the atmosphere of the Harlem Renaissance as it exists in the popular imagination, but to specifically highlight the essential role of Black queer identity in that artistic and social movement.
Eric Stoltz, who’d played a philosophical bartender and lifelong student for Baumbach in Kicking in Screaming, returns in his sophomore feature as an aspiring novelist, Lester, who exhibits obsessive behavior when girlfriend Annabella Sciorra mentions a previous relationship with well-known writer Dashiell Frank.
An adaptation of Paul Theroux’s novel, Saint Jack is anchored by Ben Gazzara’s wry and rueful performance as Jack Flowers, an American part-time pimp, hustling out a living while dreaming of a home far away.
A brazenly anachronistic and sensual imagining of the life and love of Renaissance renegade Michelangelo Merisi da Caravaggio, seen juggling two lovers (Sean Bean’s Ranuccio and Tilda Swinton’s Lena) while scandalizing the establishment.
The definitive version of Louisa May Alcott’s cherished 1868 novel about a Massachusetts mother raising four daughters during the Civil War, Cukor’s Little Women boasts a brilliant cast that includes Joan Bennett as the self-absorbed Amy and, as tomboy Jo, Katherine Hepburn.
The late, lamented Robert Forster has one of his greatest roles as a television news camera operator who, shooting in Chicago during the summer of the Democratic National Convention, experiences a political epiphany.
“I’m trying to do nothing right now,” explains Ben Stiller’s Phillip Greenberg, house-sitting for in the Hollywood Hills for his much more successful brother, nursing grudges, and hectoring his brother’s personal assistant.
Elliott Gould—who’d appeared for Baumbach as a father figure in Kicking and Screaming—plays a distinctly low-key and somewhat bumbling version of Raymond Chandler’s gumshoe Philip Marlowe in Altman’s singular private dick movie.
Married documentarians Josh and Cornelia (Ben Stiller and Naomi Watts) are settling into midlife routine and resentment when a much-needed shake-up arrives in the form of a creative couple some twenty years their junior.
Working-class Staten Island striver Tess (Melanie Griffith) making a regular ferry commute between her provincial life with neighborhood guy fiancé Alec Baldwin and the world of cosmopolitan high finance, where she works under exec Sigourney Weaver.
When the regular Santa in the Macy’s Thanksgiving Day parade has had a little too much to drink, an old man by the name of Kris Kringle (Edmund Gwenn) steps into the jolly elf’s boots, and makes such a sensation that he’s invited to sit in at the midtown flagship store for the Christmas season.
The story of Rublev (Anatoily Solonitsyn), a medieval icon painter and Russian Orthodox monk who struggled against rampant brutality to produce works praising God, becomes, in Tarkovsky's hands, the story of art and artists, for all times.
Only a performer of Hoffman’s magnitude could bring the proper pathos to the part of fading patriarch Harold Meyerowitz, a high-handed sculptor whose outsized personality weighs heavily on his dysfunctional clan, including fourth wife Emma Thompson, daughter Elizabeth Marvel, and sons Ben Stiller and Adam Sandler.
A masterful character study from Rafelson and screenwriter Carole Eastman, Five Easy Pieces introduces Jack Nicholson’s Bobby Dupea as a shit-kicking good-ol’-boy hand on the California oil fields, seemingly interested in nothing but booze, bowling, and balling with best gal Karen Black.
A lonely woman (Marianne Jean-Baptiste), recently separated from her husband, visits a bewitching London department store in search of a dress that will transform her life. She’s fitted with a perfectly flattering, artery-red gown—which, in time, will come to unleash a malevolent curse and unstoppable evil, threatening everyone who comes into its path.
In Mexico City, the Ochoa family runs one of the city’s privately owned ambulance services, scraping out a living by tending to the injured and desperately unwell, waiting on calls night after night, only to speed through the city’s streets hoping to beat rival EMT crews to the scene.
One fine day Jack Skellington, the Pumpkin King of Halloween Town, discovers a gateway leading to the snow-blanketed, jolly Christmastown, and decides to bring the holiday back to his ghost and ghoul subjects, a plan that quickly goes catastrophic.
Greta Gerwig co-writes and stars in this masterwork of millennial ennui. Her amiably awkward Frances is flailing into the end of her twenties. A dancer without a stage to perform on, her deepest emotional attachment is to sometimes exasperated best friend Mickey Sumner.
Sacramento teenager Christine “Lady Bird” McPherson (Saoirse Ronan) seemingly can’t wait to get away from her mother—in the opening scene of Gerwig’s directorial debut, she jumps from a moving car to escape her—and escape to a new life at school in New York City.
A revitalizing retelling of Charles Dickens’s classic tale with Michael Caine as a superb Scrooge, Kermit as Bob Cratchit, and a host of fantastic new creations, including the big, bumptious bonhomie-prone Ghost of Christmas Present.
College freshman Tracy (Lola Kirke) isn’t having the life-changing experience that she’d expected in New York City, so she’s happy to be taken under the wing of her garrulous, free-spirited stepsister-to-be (Greta Gerwig).
The Squid and the Whale star Jeff Daniels is a corporate cog just miserable enough to be swept off his feet by Melanie Griffith’s devil-may-care Lulu, who drags him from New York City to rural Pennsylvania.
Capra’s film manages to reveal new shadings of quiet desperation in its depiction of small-town U.S.A., and its conclusion always arrives as a real revelation, a sudden blissful explosion of commonweal and goodwill to save George Bailey.
The recrimination, lingering love, and sense of shared trauma and affection that lies behind even the most civilized “mutual” breakup is explored in Baumbach’s watershed drama, starring Adam Driver as a New York experimental theater director and Scarlett Johansson as his lead actress and ex-wife-to-be.
Too rowdy and rambunctious at home, sensitive 8-year-old Max makes his escape to a place where the play is a little rougher and the playmates a lot bigger and hairier—an island populated by mischievous monsters for whom self-control is a fully foreign concept, who nominate Max as their king.