Film & Arts
The "culture industry" testifies to the expansionist ambitions of the late capitalist system, which can now colonize fantasy and enjoyment as it once did countries.
Barry Crimmins is a funny, frightening man. His humor is so sharp it feels almost dangerous to laugh. There’s no telling when it could turn, or in what direction.
Everything about "Horace and Pete"—its seriocomic ambivalence, performance aesthetic, production values—seems calculated to knock viewers out of their comfort zone.
Writer-director László Nemes takes us into the Auschwitz death camp one day in late 1944. The camera immediately fastens on Saul Auslander and never lets go.
The changes of Vatican II and the turmoil of the civil-rights and anti-war movements made for heady days, and Sister Corita Kent’s art further exemplified the times.
Just in time to relieve the post-Oscar doldrums comes the reappearance of Orson Welles’s "Chimes at Midnight," the 1966 adaptation of Shakespeare’s Henry IV plays.
"Downton Abbey" has been vivid, suspenseful, and often funny, but it has always remained a soap opera with pretentions, a show obsessed with the passage of time.
"War and Peace" is called the greatest novel ever written, but it’s like sticking a “Kick me” sign on the book. Readers can’t help wanting to take issue with it.
Stephen Karam, author of the acclaimed Broadway play "The Humans," talks about compassion, Chekhov, and how faith and fear figure into his work.
Michael Moore tours the social democracies of Europe, assembling a piecemeal progressive utopia and contrasting it with the bleakness on our side of the Atlantic.
Very few historical films have achieved this degree of physical verisimilitude. The bad news? Verisimilitude may be 'The Revenant'’s only great achievement.