Email Author J. Hoberman
As suggested by its title, Allen Ginsberg's game-changing poem "Howl" is essentially performative—and so is Howl, the... More >>
NYFF 2010 package: Fincher's "Social Network", More >>
Finally opening after months of delay and a last-minute pull from theaters, Leaves of Grass is an ambitiously high-falutin' pot-head... More >>
As Never Let Me Go touches on themes developed with far greater artistic force in Au hasard Balthazar, so C.W. Winter and Anders... More >>
Published five years ago, Kazuo Ishiguro's massively praised Never Let Me Go is set in an alternate universe where life has been... More >>
One of the key members of French new wave, Claude Chabrol died this weekend at age 80, having made nearly as many movies -- almost all of them thrillers -- as years he lived. Like his colleagues Fra... More >>
Back from the Lido, I learned that Somewhere, Sofia Coppola's slight, stringent, not-quite sentimental tale of a movie star on the edge of a nervous breakdown and the 11-year-old daughter that loves h... More >>
Midway through the Venice film festival, the competition is notable for a pair of features by American women: Sofia Coppola's Somewhere and Kelly Reichardt's Meek's Cutoff -- both minimalist, open-end... More >>
Devoted in part to the presentation of "unshowable" movies, Anthology Film Archives has become the unofficial New York venue for one of the... More >>
The 67th Venice Film Festival, where I'm currently on jury duty (although not on the jury headed by Quentin Tarantino) opened majorly pop with Black Swan, Darren Aronofsky's warmly received and border... More >>
Seen this spring at "New Directors/New Films," Chinese-Canadian filmmaker Lixin Fan's prize-winning documentary Last Train Home is an... More >>
At once laid-back and tricky, Our Beloved Month of August—the second feature by 38-year-old Portuguese filmmaker and former film... More >>
Nothing is quite as simple as it seems in the films of Eric Rohmer. Nor, perhaps, as complicated. As John Ford was to Westerns, so Rohmer was... More >>
Is this the year? Are we finally witnessing Total Cinema, the first stirrings of Huxley's feelies, the apotheosis and—as suggested by the... More >>
A few months back, we noted an interesting discrepancy in the New York Times coverage of the last New York Film Festival. While critics A.O. Scott and Stephen Holden were unusually harsh in their cha... More >>
Lebanon, written and directed by Samuel Maoz, is not just the year's most impressive first feature but also the strongest new movie of... More >>
As summer was once the rerun season, let us hail the sitcom geniuses of the 1950s: Lucille Ball, Jackie Gleason, and the Great One's Brooklyn... More >>
Elegant opening credits, written as if it were calligraphy on a wedding invitation, yield to a couple in blunt close-up—unhappy,... More >>
Henri-Georges Clouzot (1907–1977) once personified a commercial cinema of quality, having produced and directed France's two great... More >>
Opening with a deeply sincere "I don't give a fuck!" Austin filmmaker Ben Steinbauer's investigative doc Winnebago Man sets out to prove... More >>
Serious comedy, powered by an enthusiastic cast and full of good-natured innuendo, Lisa Cholodenko's The Kids Are All Right gives... More >>
The prodigal son's prodigal film returns in its original form, if only for a day: John Woo's uncut, nearly-five-hour-long Red Cliff, the... More >>
A feature-length portrait of a pop music genius as (pre-)convicted murderer, The Agony and the Ecstasy of Phil Spector lives up to its... More >>
Those more amused by kitsch than kitchy-koo are directed to The Law—a vintage 1960 French-Italian co-production directed by the... More >>
Alain Resnais's Wild Grass has plenty of fans—it copped an award at Cannes in 2009 and was tapped to open last year's New York... More >>
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