Saturday, March 6, 2021
Roberto Rossellini’s 1950 film exemplifies the fruitful creative tensions that can arise out of casting ordinary people alongside movie stars.
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Richard Brody reviews the horror movie “Us,” written and directed by Jordan Peele and starring Lupita Nyong’o, Winston Duke, and Elisabeth Moss.
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Richard Brody reviews “Bathtubs Over Broadway,” a documentary by Dava Whisenant that examines the industrial musical—plays produced by corporations for their employees to enjoy at nati…
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Richard Brody writes about the four versions of the film “A Star is Born”—from 1937, 1954, 1976, and 2018—and recommends three for streaming, in addition to the 1932 film “What Pri…
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Richard Brody reviews “A Star Is Born,” directed by Bradley Cooper and starring Cooper and Lady Gaga.
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Richard Brody reviews “The Spy Who Dumped Me,” directed by Susanna Fogel and starring Mila Kunis and Kate McKinnon.
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Richard Brody reviews “The Greatest Showman,” about the life of P. T. Barnum, directed by Michael Gracey and starring Hugh Jackman.
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Richard Brody and Anthony Lane review films currently in theatres, including “Blade Runner 2049,” “The Meyerowitz Stories (New and Selected),” and more.
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Anthony Lane and Richard Brody review films currently in theatres, including “Blade Runner 2049,” “The Florida Project,” “Faces Places,” and more.
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Anthony Lane and Richard Brody review movies currently in theatres, including “Mother!,” “Battle of the Sexes,” and more.
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Richard Brody and Anthony Lane review films currently in theatres, such as “It,” “The Unknown Girl,” “The Limehouse Golem,” and more.
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Anthony Lane and Richard Brody review the movies currently in theatres, including “I Do . . . Until I Don’s,” “Marjorie Prime,” “Logan Lucky,” and more.
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Anthony Lane and Richard Brody offer suggestions and reviews for movies in theatres this weekend, including “Logan Lucky” and “Beach Rats.”
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Richard Brody recommends five films to stream this weekend, such as “American Gigolo,” starring Richard Gere, which is available on HBO Go.
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The attention paid to movie scores—particularly in concert halls, where they’re often played live to accompany screenings—doesn’t, for the most part, serve movies any better than mus…
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The director Damien Chazelle’s notion of artistic power isn’t merely inseparable from his notion of will power; it’s the very embodiment of it—louder, faster, and alone are his stand…
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“Michael Moore in TrumpLand” isn’t quite the film that I expected it to be, and that’s all to the good. Moore is, of course, a genius of political satire, deploying his persona—as …
SOURCE: The New Yorker Subscription at 07:00PMThursday, June 18, 2015
Movies change over the years. Decades ago, I saw “Grey Gardens” as a story of a festering delusion of the American aristocracy and the closed circles of high society decaying into inanit…
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Noah Baumbach, whose new film “While We’re Young” opens this weekend, has become the master of a genre unto himself: the personal counterfactual. In “Greenberg” and “Frances Ha,�…
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The current production of “Don Giovanni” at the Metropolitan Opera, running through March 6th, is the opera of the moment, a profoundly political and moral vision that’s as much of our…
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I heartily agree with Manohla Dargis that there must be more female filmmakers, but her recent piece in the Times calling for changes to the industry buries the lead. Midway through, she …
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Operaphile alert: don’t miss the new production of Mozart’s “The Marriage of Figaro,” with its current cast and James Levine conducting, that will be at the Metropolitan Opera throug…
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