drama
Scenes: THE NEW YEAR
On embracing the beautiful ambiguity of adulthood with one of the most stunningly subtle finales in recent American cinema.
The Film 100: Orson Welles, no. 5
His innovations are the most pervasive in modern filmmaking; his body of work is arguably the most studied; and his bittersweet legend is both a warning and a challenge to all aspiring directors.
The Film 100: Clint Eastwood, no. 89
At the height of the feminist movement, Eastwood became the model of masculinity.
The Film 100: Martin Scorsese, no. 96
Martin Scorsese has proved to be one of cinema’s greatest artists and toughest champions.
The Film 100: Bette Davis, no. 58
Her career made her a true role model for women in the film industry, and her incomparable screen performances left the sharpest images of forthrightness ever presented on screen.
The Film 100: Dennis Hopper, no. 91
Playing a series of flipped-out villains turned Hopper into an eccentric character actor, obscuring the magnitude of his influence.
The Film 100: Mary Pickford, no. 4
Pickford was not the result of a star system, she was its genesis.
The Big Ones: THE FREETHINKER
Peter Watkins’ film is rather like entering a four-dimensional gallery of digital notecards, befuddling then exhausting and finally immensely rewarding.
The Film 100: Anita Loos, no. 25
Few have ever matched the style of the teenage scenarist who literally set the tone of movie dialogue.
The Film 100: Marlon Brando, no. 20
Brando seems to transcend his most memorable parts to symbolize a style of performance, a feat that few actors ever achieve.
