Asif Kapadia’s documentary Amy, about the singer Amy Winehouse, is suitably gutting. How could it not? Hers is a tragic story of a vibrant young woman with extraordinary talent whose life is cut short by drugs, alcohol, and an eating disorder. It is also, Kapadia takes care to show, the story of a girl surrounded by thousands, all who wanted a piece of her until, bit by bit, she disappeared. (More…)

“You’re Welcome,” reads this most appropriate tagline to the sequel to Magic Mike. Once a snide reminder of forgotten thanks, this phrase has come to mean the inevitable grateful outpouring in response to something highly desirable or cool. The anticipated gratitude could be for a number of things. (More…)

When she won the Oscar for Best Supporting Actress for her role in Boyhood, Patricia Arquette delighted many with her call for wage equality in her acceptance speech. It was a timely call, for its political appeal and because it likely struck a nerve for many in Dolby Theatre, seeing as the Sony hack had revealed that actresses, even top box office earners, receive less than actors. (More…)

When I take my dad to watch the Metropolitan Opera broadcasts on Saturday mornings at the movie theater near my house, I know what to expect: slow-moving senior citizens who force the staff to bend over backwards satisfying their demands before the performance starts. That’s what made this past weekend so surprising. The same people were there, but many of them were going to see Fifty Shades of Grey instead. (More…)

In some circles, Inherent Vice was the most eagerly anticipated film of last year. Its director, Paul Thomas Anderson, has long been a favorite of cinephiles, both for the excellent performances he gets from actors and his delightfully retrograde insistence on shooting to film. But tackling the work of the legendary writer Thomas Pynchon added greatly to the hype. (More…)

It’s ironic that the films receiving the most critical praise and attention right now are about, in varying degrees, the crisis of masculinity and the difficulties of being an (important) man. This isn’t to say these films are not good. (More…)

Science fiction has become obsessed with the idea of humanity abandoning Earth. It is not just movies like Interstellar, which was a smash hit this year. Audiences identify with the theme of resignation in the genre. (More…)

It’s increasingly difficult to write year-end surveys. They seem to come earlier and earlier each year, and are hardly special in a landscape of reportage made almost entirely of lists. A top ten of lists would almost be worth it, if not for the risk that such navel gazing would precipitate Internet implosion (or self-loathing). Moreover, there was a lot of cinema in 2014 that merits note. (More…)

If director Laura Poitras’s new film Citizenfour doesn’t make you paranoid, nothing will. By the time she has finished telling the story of Edward Snowden, how he meticulously plans to reveal the extremity of the post-9/11 surveillance state and then suffers the consequences once he sets the wheels in motion, you may be wondering whether privacy is even possible (More…)

After watching hours of CNN’s coverage of the unrest in Ferguson, I felt a desperate need to protest against the St. Louis County grand jury’s decision not to indict Officer Darren Wilson for the shooting of Mike Brown. But because there were no protests taking place nearby, I headed to a suburban theater to watch the latest installment in the Hunger Games franchise instead (More…)

For most people, the middle of life isn’t so much marked by crisis as by a general, if heightened, anxiety. As your body gradually succumbs to entropy and gravity, you realize that history has taken place, and you have barely participated. You weren’t Madonna, you never won Wimbledon, you didn’t stop global warming. (More…)

Given the current state of affairs in Ukraine, it’s hardly surprising that the Georgian-born Armenian filmmaker Sergei Parajanov should yet again court controversy from beyond the grave. (More…)