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  • The Lost Boys
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    R.I.P. Jeanne-Claude

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  • Thompson on Hollywood
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    Hillcoat Talks The Road

    It's been a long haul for the film adaptation of the 2006 Cormac McCarthy bestseller The Road, which producer Nick Wechsler acquired before it was published. With backing from 2929 Entertainment and distributor The Weinstein Co., he approached Australian director John Hillcoat after he had made the ...

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  • The Lost Boys
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    Clip of Roman Polanski Winning Oscar

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  • The Lost Boys
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  • Matt Dentler's Blog
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    Cousins

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  • iW NOW
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    LAFF Receives Grant from Academy

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  • Indiewire
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    iW Video | Reverse Shot Talkies: Pedro Almodóvar

    "A movie is something like – even something shot and edited and frozen there – I think it’s like a person...you know more about that person with time," observed director Pedro Almodóvar in a recent video interview with Reverse Shot's Eric Hynes. "That you know more about that person with time. It’s ...

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  • Indiewire
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    For Your Consideration: 25 Things The Academy Got Right In The 2000s

    With the first wave of awards season precursors less than two weeks away, I figured I would use the very last addition of this column before an onslaught of commentary on critics awards and Spirit and Globe nominations beckons to provide some optimism in the wake of last week's list of the "most des...

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  • Indiewire
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    cinemadaily | Herzog's "Bad Lieutenant" Docks in US

    Werner Herzog's rough remake of the Abel Ferrara's 1992 film "Bad Lieutenant," "Bad Lieutenant: Port of Call New Orleans" is heading to US waters, after screenings in Venice and Toronto. David Edelstein of New York Magazine tackles the film, "In Bad Lieutenant: Port of Call New Orleans (a sequel t...

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  • REVERSEBLOG: the reverse shot blog
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    Solar Power: Alexander Sokurov's "The Sun"

    Hou Hsiao-hsien’s City of Sadness opens with Emperor Hirohito’s radio announcement renouncing his divinity going unremarked by a Taiwanese family as they gather around a newborn son, establishing both the distance of power from the everyday and its invisible pervasiveness. Hou’s tactic is not simply a clever way of handling a tale of people caught up in the world historic, a clichéd notion which simultaneously aggrandizes the individual’s tragedy while subordinating him to the seeming untouchability of historic forces. The oblique scenes in which Hou depicts Taiwan’s White Terror are truths in themselves, not cryptograms to be decoded for the...

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