Mocked on initial release and long unavailable, Max Ophüls’ wide-screen spectacle “Lola Montès” returns in a lustrous restoration. So what’s the big deal?
Why is the exasperating and delightful “Pleasure of Being Robbed” — a breakthrough American micro-indie about a charming female sociopath — barely getting released?
The HBO host and comedian talks about “Religulous,” his onslaught against the religious idiocy that threatens to deliver America to Sarah Palin and her fellow “space god” worshipers.
Sundance critics went wild for the lo-fi, wide-screen, Mississippi bleakness of “Ballast.” But has American neorealism turned itself into audience kryptonite?
Sam Rockwell and director Clark Gregg render Palahniuk’s “Choke” as madcap sex farce. Plus: The man who destroyed American culture! Filipina ladyboys in Iceland!
Tastes bad! Less filling! Brad Pitt’s quasi-closeted gym boy and George Clooney’s beard star in the Coen brothers’ bizarre, coldblooded spy farce, “Burn After Reading.”
En route from “Six Feet Under” to “True Blood,” TV genius Alan Ball snuck in “Towelhead,” an earnest drama about race and sexual awakening in ’90s suburbia.
Do low-budget American films like “The Pool” (made in Hindi) and “August Evening” (made in Spanish) signal a new wave of cultural exploration, or just hipster tourism?
Takashi Miike’s “Sukiyaki Western Django” offers a spectacular mashup of Kurosawa, Sergio Leone, Tarantino and the Bard — and it’s weirder than that sounds.
As the floodwaters rose in New Orleans, “street hustler” Kim Roberts turned on her camera — and captured a story more thrilling than any Hollywood blockbuster.
Indie hero Azazel Jacobs talks about casting his own parents — and their eccentric, amazing New York apartment — in his entrancing breakthrough film “Momma’s Man.”
