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Splice Archive
Wim Wenders’ revered 1984 film is a blithe and blindly sentimental valorization of a deadbeat alcoholic kidnapper.
Brian DePalma's political incorrectness is serious, so his art is marginalized.
The Dead Don’t Die has nothing new to say, and if that’s the point, why bother? C-
The Last Black Man in San Francisco announces two new major voices in American cinema. A-
Martin Scorsese’s Rolling Thunder Revue shows a mid-1970s America in decay.
Smith is Harvey Weinstein’s worst crime.
Late Night is a movie that's all platitudes with no pulse. D-
On identity, consciousness, and memory in Being John Malkovich.
Shaft remake is more interesting and fun than expected. B
Late Night ultimately juggles a few more subplots than it has time to service, but it could've been much worse. B
American Beauty was liberalism's last glamorous attempt to turn agony into Prozac.
Brand Medicis in the movie industry, Teresa Wright in Roseland, and the possibilities of the advertorial film.
You don't have to be a believer to be Jewish.
Some of the most powerful scenes are genuinely horrific.
A near-spoiler-free look at Marvel and the real world.
None of this is presented in a vacuum.
The satisfying, populist entertainment of Avengers: Endgame.
As much as I enjoyed the movie, there were a few things I noticed as an adult that gave me pause.
It had enormous potential.
The show didn't get weird enough often enough.
The hoax as art form.
From the archives of The Dick Cavett Show.
Terrence Malick's new WWII epic has been bought by Fox Searchlight, so expect a vigorous Oscar campaign.
The new film by Olivier Assayas (Personal Shopper, Clouds of Sils Maria).
A rare appearance from two of America's most famous silent movie stars.
An interview with the artist behind the Criterion Collection's recent remaster of Notorious.
A24 brings the new Claire Denis film to American multiplexes in April.
An interview with the director shortly after the release of The Deer Hunter.
The first look at Jordan Peele's follow-up to Get Out.
An interview with the late director by Mark Kermode.