Film

Stanley Kauffmann on Films: The Past Today
March 29, 2012

Footnote The Deep Blue Sea This Is Not a Film  From Israel comes a film of contrasts. Footnote uses sophisticated style to deal with an ancient subject. Joseph Cedar, the writer-director, tells a story about Talmudic studies and couches it in cinematic brio. This verve also counterpoints the drama. Along with the talk about deep scholarship comes this visual approach that is a kind of modern complement.

David Thomson on Films: Why I Hate ‘The Hunger Games’
March 27, 2012

There are several spoilers in this review of The Hunger Games, and I’ll get them out of the way early. The film shows precious little hunger and no sense of game. It’s a terrible movie, but it grossed $68.25 million on its first Friday. So that’s where your teenage daughters were over the weekend—or what they told you. And that’s why film critics sometimes feel their own futility.  I know, or I have heard, that the series of books by Suzanne Collins, of which The Hunger Games was the first, have sold all over the world in amazing numbers since 2008.

TNR Film Classic: Movie Brutalists (1966)
March 24, 2012

The basic ideas among young American film-makers are simple: the big movies we grew up on are either corrupt, obsolete or dead, or are beyond our reach (we can’t get a chance to make Hollywood films)—so we’ll make films of our own, cheap films that we can make in our own way.

David Thomson on Films: Should Horses Be Sacrificed For Art?
March 20, 2012

In every way it is regrettable—that three horses have died in the making of Luck over a period of twelve weeks; and that the slowly developing series is going to be cut off, not exactly in its prime, but with glimpses of that glow in the distance.

Stalking Geoff Dyer
March 13, 2012

The rich, problematic delight with Geoff Dyer’s new book, Zona is that it’s so much more fun than the film it addresses, Andrei Tarkovsky’s Stalker (1

Thomson on Film: A Movie About a School Shooting That Ignores the Shooter
March 08, 2012

Just over a week ago, at the Chardon High School near Cleveland, Ohio, a seventeen-year-old youth opened fire on fellow students: Six were wounded and three have died. A teacher said it was important to get the rest of the students back to school to “show that terror and evil do not win out.” Such things keep happening, and people make brave, encouraging, and ridiculous statements.

David Thomson on Films: What Ever Happened to Meg Ryan?
March 01, 2012

In the Cut is not a new film, but many of you won’t have seen it, and some who saw it when it opened in 2003, amid critical abuse, should think of seeing it again. Then it may become new, beautiful and very disturbing. So, in the wake of the annual hysteria over our current movies, let me recall an “old” masterpiece, all the more resonant in that it was largely missed by the people whose business it is to guide us in what to see. Frannie lives in New York where she teaches English at a run-down college.

Slideshow: What If the GOP Candidates Were Movie Stars?

The 84th Academy Awards are on Sunday, and this year’s nominees are a large group of crowd pleasers who spend a lot of time—sometimes too much—addressing war, infidelity, the sanctity of life, and nostalgia for the 20th century. Sound familiar? It should: That also sums up the GOP’s 2012 presidential field.

The Problem with Oscar Voters: They All Look The Same
February 23, 2012

You may recollect that at the Academy Awards show last year, the hosting job went to Anne Hathaway and James Franco. She was 29 and he was 33, and there was a vague hope that they were young and hot enough to pull in the junior crowd for the television marathon. It didn’t work: Franco seemed bored, while Hathaway was trying too hard. There was no chemistry between them, and very little fun. So this year the host was going to be Eddie Murphy, but he backed off when the producer’s job was withdrawn from Eddie’s chum, Brett Ratner, on account of anti-gay remarks.

David Thomson on Films: ‘The Artist’ Was Awful—and Other Reasons I’m Not Watching the Oscars
February 21, 2012

Since first seeing The Artist, I believed it was going to win Best Picture. It’s “different” without being challenging or difficult or worrying. The Artist could have been designed by a computer to appeal to anyone who has a sense of nostalgia for movie history. (And 54 percent of Academy voters are over sixty). It is also a light, entertaining picture in which froth passes for energy, and pat ironies are made to seem intelligent. I enjoyed it, until the moment I guessed how close it was to getting Best Picture.

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