The Nation's film critic Stuart Klawans is author of the books Film Follies: The Cinema Out of Order (a finalist for the 1999 National Book Critics Circle Awards) and Left in the Dark: Film Reviews and Essays, 1988-2001. His film criticism and reviews for The Nation won the 2007 National Magazine Award. When not on deadline for The Nation, he contributes articles to the New York Times and other publications.
In Summer of Sam, Spike Lee has made a small, shapely drama about two young Italian-American couples in the Bronx.
Legend has it that Potemkin, burdened by duties and melancholy, once neglected to order the packing up of one of his stage-set villages.
The title character in Run Lola Run lives underneath a fibrous growth that in shape resembles a neglected patch of lawn and in color brings to mind a fire engine--or maybe a fire engine cr
In the movie that has been assigned to us to write about, Austin Powers: The Spy Who Shagged Me, Mike Myers from Saturday Night Live plays a secret agent named Austin Powers.
In Variety, where industry rumors congeal into analysis and analysis hardens to consensus, the news is bad for filmmakers like Alexander Payne.
Before I ask you to see Eternity and a Day, I'd better explain something about its director and co-screenwriter, Theo Angelopoulos.
Not only now but every week, I am reminded at two-minute intervals of the influence of Star Wars.
On April Fool's Day 1989, Leonid Loktev changed without warning into another person.
Thanks to the genius of millions, who over the generations have created our language, we may speak of the most uncanny experience in terms that suit the most common.
I coined the term "global brunch" several years ago after seeing a film of the Stravinsky-Cocteau Oedipus Rex as staged by Julie Taymor.