To suffer humiliation can be tragic. To bear humiliation for much longer than necessary, yet with loud impatience, is the comic gift of Albert Brooks.
For contemporary reactions from Nation critics to the films of Stanley Kubrick, follow these links: Lolita (1962), Dr. Strangelove (1964), 2001: A Space Odyssey (1968), The Shining (1980), all reviewed by Robert Hatch, and Full Metal Jacket (1987), reviewed by Terrence Rafferty.
It's 9:45 Tuesday night, and the house lights have just come on after the final scene of Wit--the surprise Off Broadway hit about a terminally ill English professor and her experience as a
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.
A cluster of concepts that, before the seventies, had together formed the received idea of art and artists came under intense criticism in that decade.
In Variety, where industry rumors congeal into analysis and analysis hardens to consensus, the news is bad for filmmakers like Alexander Payne.