Believe it or not, in a pop culture filled with mindless reality shows and slick formula franchises, there are still a few players out there whose work offers a glimmer of hope that originality and intelligence can prevail. Tilda Swinton is one such player.
Sometimes the best way embrace a new season is to jump right in. With that in mind, I took off the other week for Sweden where the weather hovered around a balmy 45 degrees and there was always a chance of rain.
Reading subtitles is a lot like riding a bicycle. Practice not only makes perfect, soon enough it's second nature so you don't even notice you're doing it. This particularly holds true when you're watching something great.
The Seduction of Ingmar Bergman is as unique and wonderful as musical theatre gets: a "what-if" fantasia plopping the celebrated Swedish director smack-dab in the sunny horrors of Hollywood, circa 1956.
Fred Kaplan's enlivening 1959: The Year Everything Changed, argues that the '50s -- a decade that saw the invention of the microchip and the creation of explosive art -- has been misunderstood in hindsight.
At Cannes, Gael García Bernal spoke about his directorial adventure with Revolución, a film intended to "make something out of what we think of what.. happened to Mexico during the last 100 years after the Revolution."