The Box Office is Everything: In Praise of the Window at the Front of the Theater
The physical box office is the place where the movie theater meets the world beyond.
The physical box office is the place where the movie theater meets the world beyond.
Michael Mann’s 2004 thriller fully embraced digital filmmaking on a scale rarely seen before.
Released 25 years ago, M. Night Shyamalan’s “The Sixth Sense” was reduced to a plot twist, but it’s more than that.
Rock-‘n’-roll “Star Wars” turns 10 with a spring in its step.
Director Alex Cox (“Repo Man,” “Sid & Nancy”) talks about changes in the independent filmmaking landscape and his new crowdfunded Western
An excerpt from the latest BWDR on Tony Scott’s Crimson Tide.
A video essay on Alan J. Pakula’s “The Parallax View,” a perfect movie with a merciless ending
Jon Landau was the secret ingredient in James Cameron’s innovative career.
A Quiet Place: Day One is the best of the series, in large part because its such a departure.
How the PG-13 rating changed American cinema for the worse.
The Unloved closes out a chapter on Sean Connery gems with Russell Mulcahy’s ambitious sequel to Highlander.
George Miller’s fifth and presumably final “Mad Max” movie reimagines the world he created.
Once again, Netflix leaves money on the table by limiting theatrical screenings.
Critics were mostly ho-hum about “If,” but it’s a sneakily powerful dream-logic movie
The Unloved looks at the twisted brilliance of John Boorman’s Zardoz.
What’s broken in moviegoing, and some ideas for fixing it.
In praise of Tom Tykwer’s ridiculous and thrilling “Run Lola Run”.
An account of the memorial service for film scholar David Bordwell.
A brief (yet still incredibly long) list of people who were given their first big break in the film business by the late Roger Corman.