Fernando Di Leo’s Anti-Mob Movies: Is There Such a Thing as a Happy Ending Built on the Corpses of the Losers?
On the dirty business of cops and crime and revenge in Fernando Di Leo’s takedowns of the mafia.
There is no loyalty, and really no family—there is just money and power and violence: Fernando Di Leo’s pulp fiction dismantlings.
Recalling the spectacular rise and fall of Stone Roses, Shane Meadows’ MADE OF STONE proffers not-giving-an-eff is intrinsic to what made the band monumental.
Where Reichardt’s latest, an elaborate tale of radicalism, eco-terrorism, guilt and paranoia, fits.
Getting to know the creator of Austin’s first film festival and pivotal indie classics somehow lost to history may feel like meeting the best friend you never knew you had.
Alex Cox on screen violence and Sam Peckinpah, political legacies and the Spaghetti Western, plus Gian Maria Volonte and Klaus Kinski in Damiano Damiani’s A BULLET FOR THE GENERAL.
Holding out for miracles: Will the Academy award the most exceptional films of the year?
Landscapes, like people, are vulnerable: Jenni Olson’s meditative THE JOY OF LIFE plunges into a heated bridge debate.
Two critics with a hunger for nuance and an appreciation for ‘spectacular trash’ sort through the Academy’s Actor nominees.
An ‘actress-sexual’ ping pong match between two discerning critics.