In Paul Thomas Anderson’s The Master, a drifter meets a rude awakening.
A.M. Homes’s May We Be Forgiven; Sherman Alexie’s Blasphemy.
The documentary, starring the late Andrew Breitbart, is a deranged hodge-podge of bizarre memes, wild dot-connecting and unadulterated fury.
A crude and hackneyed film, Won't Back Down peddles an improbable and deceptive message about schools and poverty.
Mikkel Borch-Jacobsen and Sonu Shamdasani’s The Freud Files; E. James Lieberman and Robert Kramer, editors, The Letters of Sigmund Freud and Otto Rank
Maureen F. McHugh's After the Apocalypse; Joshua Cohen's Four New Messages
Until the final reel of celluloid is shot and projected, will every film’s primary subject be film itself?
The shadows were the elective habitat of the artist Bruce Conner, who thought true knowledge was shrouded in secrecy.