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Courting dissent

Interview: Brett Morgen defends his Chicago 10
One of the great principles of American jurisprudence, though not necessarily of film criticism, is a defendant’s right to confront his accuser in a court of law.
By: PETER KEOUGH  |  February 27, 2008


Vantage Point

Unintentional laughs
Vantage Point neither resolves its own mysteries nor says much about the Rashomon effect it’s trying to emulate.
By: PETER KEOUGH  |  February 20, 2008


The Signal

Too many weird gimmicks
There should be a rule in science fiction that there can’t be more than one weird gimmick.
By: PETER KEOUGH  |  February 20, 2008


Country for gold men

And Blood will out at the Oscars  
All kinds of voting has been taking place lately — for presidential candidates, for union contracts, for Oscar nominees.
By: PETER KEOUGH  |  February 22, 2008


Beyond Belief

Tears without embellishment
Be forewarned: this is the kind of movie that will make you take down the Web site shown at the end and send in a contribution.
By: PETER KEOUGH  |  February 13, 2008


Stop, look, and upload

Diary of the Dead  records it for the Web
Romero has not grown narcissistic or solipsistic; American society has.
By: PETER KEOUGH  |  February 13, 2008


Dead reckoning

George Romero’s exquisite corpses
Fo r years it looked as if George Romero had hit a dead end.
By: PETER KEOUGH  |  February 13, 2008



Love, loniliness, aging, and bad hair
Why are beauty salons so popular all over the world as settings for microcosmic movies?
By: PETER KEOUGH  |  February 06, 2008


Right to choose

Interview: Cristian Mungiu takes his time with 4 Months
“For all of us to have our own opinion, this is what I want. It’s not like telling people what to do.”
By: PETER KEOUGH  |  January 30, 2008


Fetal positions

4 Months  refuses to come to terms
No surprise that Cristian Mungiu’s brilliant and brutal record of a day in the life of two distraught women failed to make even the Oscar short list of 10 for Best Foreign Language Film.
By: PETER KEOUGH  |  December 16, 2008


Pulp fiction

Russell Banks dips into the mainstream in The Reserve
The forbidding, remorseless Russell Banks has finally conceded to popular literature.
By: PETER KEOUGH  |  January 29, 2008



The death of a city
Nanking confronts an evil that, 70 years later, still chills the soul.
By: PETER KEOUGH  |  January 24, 2008



A $25 million dollar budget and a handheld camera
Despite the surreal images and the gratuitous 9/11 references, all this amounts to is about a $40 million opening weekend.
By: PETER KEOUGH  |  December 16, 2008


2007 Sundance Shorts Program

Death, sex, and originality
The features at the Sundance Film Festival have tended toward limp, pseudo-indie pabulum.
By: PETER KEOUGH  |  January 16, 2008


The Oscars go to Hell

The Devil knows what the nominations will be for this year’s Oscars
Maybe it’s just as well if the writers’ strike forces a cancellation of the Oscars show.
By: PETER KEOUGH  |  January 18, 2008


Lifting the veil

Girls just want to have fun in Persepolis
If we’ve learned anything in the past five or so years of our foreign policy, it’s that we should know a few things about a country before bombing the crap out of it.
By: PETER KEOUGH  |  December 16, 2008


Casting ballots

The Human Rights Watch Film Festival on the campaign trail
Some believe democracy can save the world. Others wonder whether it can even work in America.
By: PETER KEOUGH  |  January 08, 2008


Blood simple

Daniel Day-Lewis gushes in Paul Thomas Anderson’s punch-drunk epic
To love Paul Thomas Anderson is to love his endings.
By: PETER KEOUGH  |  January 04, 2008


Primary concerns

2008 releases offer campaign reform
The last thing people are looking for when they go to the movies is a reminder of the political crapola they are trying to escape.
By: PETER KEOUGH  |  December 28, 2007


Youth Without Youth

Reaching for the stars
Try telling Francis Coppola that, especially since he hasn’t uncorked a lulu like this one since From the Heart .
By: PETER KEOUGH  |  December 19, 2007


The Savages

Fear and self-laceration
I’m glad to see the return of director Tamara Jenkins, idle since her wonderful Slums of Beverly Hills (1998).
By: PETER KEOUGH  |  December 18, 2007

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