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