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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 May 20, 2004

    Band of Insiders

    I know, you're too hip to see Troy.

    Stuart Klawans

  • Film May 6, 2004

    Broadcast News

    Most faces can simply be described, but some (like Jean Dominique's) need explaining. When did the lips shrink away, and the light brown skin start clinging to the bones?

    Stuart Klawans

  • Film April 22, 2004

    Love and Theft

    Antiquarian mishmash lathers the April screen. In Kill Bill Vol.

    Stuart Klawans

  • Film April 8, 2004

    Chronicle of a Disappearance

    A rough but accurate gauge of national resilience: When dictators fall, how soon do filmmakers rise again? In the case of Argentina, the recovery was impressively quick.

    Stuart Klawans

  • Film March 25, 2004

    Speak, Memory

    Not wanting to curse Charlie Kaufman with too much praise, I'm tempted to say that his nonexistent twin Donald is the best American screenwriter since Preston Sturges.

    Stuart Klawans


  • Film March 11, 2004


    So Mel Gibson has been persecuted all the way to the bank.

    Stuart Klawans

  • Film February 26, 2004

    Blind Faith

    From the moment when Mel Gibson began promoting The Passion of the Christ--was it only ten years ago?--he has insisted that his goal was to be true to the Gospel text.

    Stuart Klawans

  • Film February 12, 2004

    May Fools

    Bernardo Bertolucci has long fed off a cinephilia he appears to despise.

    Stuart Klawans

  • Film January 28, 2004

    Europa, Europa

    Considered as a subset of the road movie, the post-Holocaust, return-to-Poland documentary has been a dismayingly static genre. Most of these films are journeys in only the physical sense.

    Stuart Klawans

  • Film January 15, 2004

    The Hunt for Hussein

    About a third of the way through the long, long flashback that is Crimson Gold, someone mentions that the main character, Hussein, needs to work outdoors because of his claustrophobia.

    Stuart Klawans