Elliot Lavine on the deeper, darker and wonderfully grittier Hollywood eras.
Agee judged film as art, taking exception to the idea that it was a commercial product necessarily compromised by public whim.
Bogart carved a niche as the quintessential loner, a character type that would become the dominant choice for protagonists in thousands of scripts to come.
Peggy Cummins brings Annie Laurie Starr power to Noir City 11’s opener.
Kurosawa assimilated his knowledge of ancient Japanese traditions into a modern Western art form, influencing many writers and directors along the way.
As ZERO DARK THIRTY takes a starring role in a national debate, a playlist of cinematic scares pays tribute to existential threats past, present and parodied.
Wilder was equally at ease with all subjects and genres, and his ability to combine visual beauty with intelligent dialogue made him the quintessential writer-director.
The first international star of the talkies, James Cagney smirked his way into the hearts of Depression audiences to become one of the most respected and beloved actors in cinema history.
The invention of the futuristic look of science fiction films, the introduction of shadowy westerns and the creation of a prodigious body of film noir standards: Fritz Lang’s influence can be felt far beyond his development of the German expressionist aesthetic.
The yearning moodiness of black-and-white brings the past to the present in EXTERIOR NIGHT.
Second look: How does Christian Petzold master tone, timing and sets to create a strong sense of unease? Carefully.
KILLER JOE, the latest from 77-year-old movie legend William Friedkin, looks like the brazen, energetic work of a young director having too much fun. A candid interview with the director finds Friedkin in top fighting form.