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Stuart Klawans

Film Critic

Winner of the National Magazine Award for his film reviews for The Nation, 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. When not on deadline for The Nation, he contributes articles to The New York Times, Parnassus: Poetry in Review and other publications.

  • Film March 5, 2009

    The Mutual Human Concern

    Kiyoshi Kurosawa's Tokyo Sonata, Steve McQueen's Hunger, Andrzej Wajda's Katyn.

    Stuart Klawans

  • Film February 4, 2009

    Waste Management

    Matteo Garrone's Gomorrah, plus The Class and Coraline.

    Stuart Klawans

  • Film January 10, 2009

    Schindler’s List

    From a book by Thomas Keneally, who was convinced by the shopkeeper to look at some old documents he kept in the back of his store. The man was one of the 12,000 people saved by Oskar Schindler.

    Stuart Klawans

  • Film January 9, 2009


    Clint Eastwood won his first Academy Award for this Dirty-Harry-meets-the-western classic.

    Stuart Klawans

  • Film January 8, 2009

    Forrest Gump

    In which an addled man stumbles through recent American history, kind of like George W. Bush.

    Stuart Klawans


  • Film January 3, 2009

    Saving Private Ryan

    It was said that the opening scenes of the D-Day invasion were so realistic that veterans hospitals across the country became filled with vets suffering from flashbacks after seeing the film.

    Stuart Klawans

  • Film January 3, 2009

    Hoop Dreams

    ...are made to be broken, as Arthur Agee and William Gates learned the hard way over the five years their lives on and off the court were filmed.

    Stuart Klawans

  • Film January 1, 2009

    Roger and Me

    The real question is who comes off worse: the callous GM executive, the bunny-cidal woman or Bob Eubanks, the anti-Semitic, joke-telling gameshow host.

    Stuart Klawans

  • Film December 8, 2008


    Unlike The Godfather, in Martin Scorsese's depiction of New York mafioso, no one pretends to be a man of honor. That's one of the reasons it's so great.

    Stuart Klawans