High Noon

David Mamet’s State and Main is so slow moving, so sluggishly edited, that you’ve got to wonder if it is so through incompetence — though this might be OK for other kinds of films, it’s disastrous in a comedy — or if there is some subtle purpose to it: an attempt to assert, for example,…

Hilary and Jackie, directed by Anand Tucker from a screenplay by Frank Cottrell Boyce and based on the memoir A Genius In the Family by Hilary and Piers du Pré is a guilty pleasure. It is a pleasure because it is marvelously written, acted and directed, but it is a guilty one because a lot…

At its best, Olivier Assayas’s film, Irma Vep (an anagram of Vampire) is rather difficult for an American audience, unfamiliar with the classic French silent film Les Vampires by Louis Feuillade (1915), to understand, since so much of it depends on playing off that kind of innocence, but the appallingly poor English pronunciation of Jean…

Making her movie comeback on Friday the 13th as part of a double-act with half of the cursed and talent-deprived Bennifer duo? What could Jane Fonda have been thinking?

An austerely beautiful film by the Anglo-Polish director Pawel Pawlikowski that could hardly be a greater departure from his earlier My Summer of Love

Orphans, written and directed by Peter Mullan — the actor who played the title role in Ken Loach’s My Name is Joe — is a bit of a bore, at least insofar as its purpose is to teach a moral lesson that our times are not exactly desperately in need of. Avoid a rigid and…