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Matt Zoller Seitz

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    O Coen Brothers, Where Art God? A Conversation Between Matt Zoller Seitz and Jeffrey Overstreet

    Do the Coens believe in God? Can we even say that for sure? Do they believe in the non-rational, the supernatural? Or are they just pranksters pulling our chains and hoping to spark conversation pieces like this one, while they sit there snickering?

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    Chaos and Repair: Reclaiming THE LADYKILLERS

    I think the Coens are among the most moral (even moralistic) directors alive. Most (but not all) of their pictures are morality plays that deflate the selfishness and pomposity of individuals while finding good even in the most flawed social orders.

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    VIDEO ESSAY: Pacino: Full Roar

    I could not stop laughing as I watched Nelson Carvajal's "Al Pacino: Full Roar"—not just because it's the most entertaining collection of over-the-top moments since Harry Hanrahan's "Nicolas Cage Losing His Shit," but because Pacino is and always has been a theatrical actor, delightfully so.

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    VIDEO ESSAY: Peter Andrews: The Soderbergh Vision

    “My policy is to have my name on a movie only once,” says Steven Soderbergh, so quoted by video essayist Nelson Carvajal. “Having your name once increases the impact of that credit because I think every time you put your name up there, you’re actually diluting it.”

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    Steven Spielberg, Hollywood Historian: A Debate Between Matt Zoller Seitz and Tom Carson

    Publisher’s Note: I’ve been arguing with film and TV critic Tom Carson for over a decade, over all sorts of issues. One is the relative merit, or lack thereof, of the films of Steven Spielberg, about whom I’m quite enthusiastic; Tom, not so much.

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    VIDEO ESSAY: Breaking the Fourth Wall

    Oh, hello there, reader. I know why you’ve come. You’re here at Press Play to watch Leigh Singer’s awesome supercut of fourth-wall-breaking moments in cinema, aren’t you?

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    VIDEO ESSAY: From the Panel to the Frame: Style and Scott Pilgrim

    Why do the same concepts get recycled and reinterpreted in so many different media, and what does that do to storytelling? Filmmaker Drew Morton poses that question in his video essay “From the Panel to the Frame: Style and Scott Pilgrim.”

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    Pablo Larraín's NO: A Movie That Says Yes To Itself

    The Chilean film "No," written and directed by Pablo Larraín, is up for a foreign film Oscar this year. I hope it wins, if only to bring attention to an extraordinary film by an increasingly sophisticated director.

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    The Unknown Unknowns: Just How “Ambiguous” is David Fincher’s ZODIAC?

    The following is a conversation about David Fincher's 2007 film "Zodiac." It was inspired by Twitter conversation about whether it is, in fact, an ambiguous movie, as many have claimed, or if it only seems that way; if it's open, closed, or somewhere in between.

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    VIDEO ESSAY: Gangster Culture in the Movies

    "He used to be a big shot." That's how a gangster's girlfriend describes him as she cradles his corpse at the end of "The Roaring Twenties." But the line could be plugged into any gangster film that ends with a tough-talking, two-fisted, hot-tempered alpha male cooling his heels in prison, frying in...

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