David Thomson

Why Lisbeth Salander Beats Margaret Thatcher

Thomson on Film: And the Oscar For Most Pointless Awards Show Goes To …

Thomson on Film: Why ‘The Artist’ Just Might Win the Oscars

Thomson on Films: The Oedipal Complexity of Early Psychoanalysis

David Thomson on Films: Tinker, Tailor, Boredom, Why?

David Thomson on Films: An Unsparing Portrait of American Breakdown

David Thomson on Films: Why Does This Movie Want Us to Feel So Miserable About Sex?

The Most Tender Tribute Marilyn Monroe Has Ever Received

David Thomson on Films: A Mainstream Movie for People Tired of Noise and Violence

Thomson on Films: Clint Eastwood’s Disappointingly Cautious Depiction of J. Edgar Hoover

David Thomson on Films: ‘Page Eight,’ a Small Screen Movie That’s Nonetheless About Large Issues

Irresistible

Thomson on Films: ‘In Time,’ a Film That Can’t Deliver on Its Own Provocative Ideas

Thomson: ‘Homeland,’ a Clever, Confident, and Cruel New Show That Trades in Paranoia

David Thomson on Films: A Road Film that Transcends Hippy v. Redneck Politics

David Thomson on Films: ‘Take Shelter,’ an Arresting Film About How Small Town Ohio Is Cracking Apart

David Thomson on Films: Two Works of Social Criticism Masquerading as Thrillers

The Star that Barked

David Thomson on Films: Remembering Margaret Sullavan, Who Would Have Been 100 (or 102) This Year

Thomson on Films: ‘Drive,’ a Cool, New Noir That Degenerates Into a Bloodbath