Showing posts from October, 2024Show All
The Metrograph Theater Starts a Film Magazine
Filmmaker R.J. Cutler Is at the Center of a Debate: What Is a Documentary?
Charles Brandt, Whose Book Inspired ‘The Irishman,’ Dies at 82
Martha Stewart Gives Netflix’s ‘Martha’ a Scalding Review
Teri Garr’s Life in Pictures
Teri Garr Found the Soul in Memorable Ditsy Blondes
Teri Garr, Comic Actress in Offbeat Roles, Is Dead at 79
Extra Extra!The End Times, Onscreen
Paul Morrissey, Andy Warhol’s Cinematic Collaborator, Dies at 86
California Governor Proposes $750 Million in Annual Film Tax Credits
David Harris, Actor in the Cult Classic ‘The Warriors,’ Dies at 75
How ‘McNeal,’ a Play About A.I., Lured Robert Downey Jr. to Broadway
Kit Connor and Rachel Zegler Revive ‘Romeo + Juliet’ for a TikTok Generation
The Menendez Brothers: How True Crime Is Re-Examining Old Cases
Lynda Obst, Producer Who Championed Women in Hollywood, Dies at 74
Antonio Skármeta, Who Wrote of Chile’s Tears and Turmoil, Dies at 83
‘Memoir of a Snail’ Review: Escaping the Spiral
Lawsuit Accusing Roman Polanski of 1973 Rape Is Settled
A Reluctant Satirist Takes On the Bomb
‘Snack Shack,’ ‘Red Rocket’ and More Streaming Gems
Pilot Killed in New Mexico Air Show Crash Instructed ‘Top Gun’ Actors
‘Smile 2’ | Anatomy of a Scene
‘Blade Runner 2049’ Producers Sue Elon Musk Over ‘Robotaxi’ Imagery
In ‘Smile 2’ and ‘Trap,’ Pop Stardom Looks Pretty Terrifying
In ‘Sunset Boulevard,’ Nicole Scherzinger Is 23 Feet Tall
The Holocaust’s Grandchildren Are Speaking Now
Hollywood Can Be Hell for a Writer, as Two New Books Remind Us
Toni Vaz, Stuntwoman and Founder of N.A.A.C.P. Image Awards, Dies at 101
‘Brothers’ Review: Two-Bit Criminals
9 New Movies Our Critics Are Talking About This Week
Lin-Manuel Miranda Releases ‘Warriors’ Album With Eisa Davis
‘Fantastical’ Is a Catfishing Horror Story About Toxic Fandom
Bob Yerkes, Bruised but Durable Hollywood Stuntman, Dies at 92
Hugh Grant on the ‘Freak-Show Era’ of His Career and Being a Family Man
‘Smile 2’ Review: A Bigger and Bloodier Spotlight
‘Anora’ Review: A Pretty Woman From Brooklyn
Adam Driver in ‘Hold On to Me Darling,’ a Satire of Sincerity
Kjersti Flaa’s Celebrity Interviews Are Intended to Start Conversations
A French Play Explores the Enduring Allure of ‘Showgirls’
A Guide to “Saturday Night” and the Real Players at the Start of ‘S.N.L.’
The Painter Titus Kaphar Tackles His Personal History in Film
Inside the Birthing Scene in ‘We Live in Time’
Filmed in New York, Hold the Taxis and Radiators
In ‘The Last of the Sea Women,’ Divers Face a Vanishing Way of Life
‘Lonely Planet’ Review: Laura Dern and Liam Hemsworth Leave Home
‘We Live in Time’ Review: Florence Pugh and Andrew Garfield’s Weepie
‘Piece by Piece’ Review: Pharrell Williams’s Life, in Legos
‘Bad Genius’ Review: Cheating the System
Sebastian Stan and Jeremy Strong Say ‘The Apprentice’ Is a ‘Human Tragedy’
‘Daytime Revolution’ Review: Coffee and Counterculture
‘La Haine’ Is Back (as a Musical This Time)
For ‘Disclaimer,’ Alfonso Cuarón Updates His Terms and Conditions
Waiting Hours for 3 Minutes in the Criterion Closet (Well, Van)
Oppenheimer’s Communist Past Draws New Attention
‘The Menendez Brothers’: 4 Takeaways From the Netflix Documentary
‘Joker’ Sequel Falls Far Short of Original at the Box Office
‘Pavements,’ ‘My Undesirable Friends’ and Other Documentaries at New York Film Festival
Francis Ford Coppola’s ‘Megalopolis’ Is a Different Kind of Flop
Francis Ford Coppola’s “Megalopolis” Is a Different Kind of Flop
John Ashton, ‘Beverly Hills Cop’ Actor, Dies at 76
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Time-Traveling, or Wishing to, in ‘Safety Not Guaranteed’
‘Intercepted’ Review: The Awful Intimacy of the War in Ukraine
A 400-Acre Movie Ranch Outside Los Angeles Is Listed for $35 Million
‘Water for Elephants’ to Close on Broadway
Best Movies and TV Shows Streaming in October: ‘Shrinking,’ ‘Disclaimer’ and More
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