Showing posts from October, 2024Show all
The Metrograph Theater Starts a Film Magazine
‘Juror #2’ Review: Clint Eastwood Hands Down a Tough Verdict
Filmmaker R.J. Cutler Is at the Center of a Debate: What Is a Documentary?
Charles Brandt, Whose Book Inspired ‘The Irishman,’ Dies at 82
Martha Stewart Gives Netflix’s ‘Martha’ a Scalding Review
Teri Garr’s Life in Pictures
Teri Garr Found the Soul in Memorable Ditsy Blondes
Teri Garr, Comic Actress in Offbeat Roles, Is Dead at 79
Extra Extra!The End Times, Onscreen
Paul Morrissey, Andy Warhol’s Cinematic Collaborator, Dies at 86
California Governor Proposes $750 Million in Annual Film Tax Credits
David Harris, Actor in the Cult Classic ‘The Warriors,’ Dies at 75
How ‘McNeal,’ a Play About A.I., Lured Robert Downey Jr. to Broadway
Investigation of Georgia Movie Set Crash Finds No Violations
‘Back to the Future’ to Close on Broadway, Rerouting DeLorean to Germany
‘Black Box Diaries’ Review: A Public Face for #MeToo in Japan
Lawsuit Accusing Roman Polanski of 1973 Rape Is Settled
‘Family Pack’ Review: Trapped in a Game
‘Snack Shack,’ ‘Red Rocket’ and More Streaming Gems
Pilot Killed in New Mexico Air Show Crash Instructed ‘Top Gun’ Actors
‘Smile 2’ | Anatomy of a Scene
‘Blade Runner 2049’ Producers Sue Elon Musk Over ‘Robotaxi’ Imagery
In ‘Smile 2’ and ‘Trap,’ Pop Stardom Looks Pretty Terrifying
In ‘Sunset Boulevard,’ Nicole Scherzinger Is 23 Feet Tall
Hollywood Can Be Hell for a Writer, as Two New Books Remind Us
Toni Vaz, Stuntwoman and Founder of N.A.A.C.P. Image Awards, Dies at 101
‘Brothers’ Review: Two-Bit Criminals
‘Fantastical’ Is a Catfishing Horror Story About Toxic Fandom
Bob Yerkes, Bruised but Durable Hollywood Stuntman, Dies at 92
Mitzi Gaynor, Leading Lady of Movie Musicals, Is Dead at 93
‘Anora’ Review: A Pretty Woman From Brooklyn
Adam Driver in ‘Hold On to Me Darling,’ a Satire of Sincerity
Presidents in Movies Always Seem to Know What They’re Doing. In Real Life …
A French Play Explores the Enduring Allure of ‘Showgirls’
A Guide to “Saturday Night” and the Real Players at the Start of ‘S.N.L.’
The Painter Titus Kaphar Tackles His Personal History in Film
Why ‘Saturday Night’ Omits the Influence of Carol Burnett
Inside the Birthing Scene in ‘We Live in Time’
Filmed in New York, Hold the Taxis and Radiators
Christopher Reeve and 6 Takeaways From the Documentary ‘Super/Man’
In ‘The Last of the Sea Women,’ Divers Face a Vanishing Way of Life
‘Lonely Planet’ Review: Laura Dern and Liam Hemsworth Leave Home
‘Separated’ Review: Interrogating a Policy
‘Terrifier 3’ Review: Still Clowning Around
Sebastian Stan and Jeremy Strong Say ‘The Apprentice’ Is a ‘Human Tragedy’
‘Daytime Revolution’ Review: Coffee and Counterculture
For ‘Disclaimer,’ Alfonso Cuarón Updates His Terms and Conditions
Waiting Hours for 3 Minutes in the Criterion Closet (Well, Van)
Oppenheimer’s Communist Past Draws New Attention
‘The Menendez Brothers’: 4 Takeaways From the Netflix Documentary
‘The Menendez Brothers’ Review: Reframing a Case
‘Joker’ Sequel Falls Far Short of Original at the Box Office
‘Pavements,’ ‘My Undesirable Friends’ and Other Documentaries at New York Film Festival
Francis Ford Coppola’s ‘Megalopolis’ Is a Different Kind of Flop
Al Pacino Is Still Going Big
Francis Ford Coppola’s “Megalopolis” Is a Different Kind of Flop
John Ashton, ‘Beverly Hills Cop’ Actor, Dies at 76
How to Watch Horror Movies Without Being Too Scared
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Time-Traveling, or Wishing to, in ‘Safety Not Guaranteed’
‘Intercepted’ Review: The Awful Intimacy of the War in Ukraine
A 400-Acre Movie Ranch Outside Los Angeles Is Listed for $35 Million
‘Water for Elephants’ to Close on Broadway
The Best Movies and TV Shows Coming to Netflix in October
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