tony-mckibbin
The Confessions of a Justified Filmgoer
J. Hoberman’s Film After Film: Or, What Became of 21st Century Cinema? In Totally, Tenderly, Tragically, critic and essayist Phillip Lopate says, “it isn’t that I’m
Miniaturist Manoeuvres: Noriko Smiling by Adam Mars-Jones
One can be an expert of many things, but what about becoming the world’s expert not on a particular filmmaker, a filmmaking movement or a
Irreverent Irrelevancies: Zona by Geoff Dyer
Few writers seem to do facetious erudition with the obtrusively self-aggrandizing more completely than Geoff Dyer. Whether it is calling a novel Jeff in Venice,
A Process of Purification: Badiou and Cinema by Alex Ling
A few years back in The Cinema Book, Rob White proposed that one reason why it took so long for Anglo-American academics to absorb Gilles
Minding Movies: Observations on the Art, Craft, and Business of Filmmaking by David Bordwell and Kristin Thompson
David Bordwell is undeniably one of the great “quantitative” critics in the world, one of those writers who trust strongly in common sense and what
Encountering Cinema: Casablanca: Movies and Memory by Marc Augé
“Some strange destiny”, John Thompson claims in The Cinema Book, “seems to have determined that the cinema is written about in France with superior perceptiveness
Following The Law of One’s Own Being: The Crying Woman in The Green Ray
A discursive exploration on the philosophic significance of the figure of ‘the crying woman’ in this most radiant of films
Brando and the Bounty
At the centre of McKibbin’s article is a re-evalution of Marlon Brando’s performance as Fletcher Christian in Lewis Milestone’s 1962 production of Mutiny on the
Generalising from the Particular: Masculine Singular: French New Wave Cinema” by Geneviève Sellier and “Making Waves: New Cinemas of the 1960s” by Geoffrey Nowell-Smith
It seems the Nouvelle Vague will not go away, and we may wonder if there has been any other film movement in history – from
The Imp of Mischief: “Have You Seen…?” A Personal Introduction to 1,000 Films by David Thomson
If Pauline Kael is often pugnacious, Jonathan Rosenbaum belligerent, Anthony Lane frivolous, then what word should we bestow upon David Thomson? Perhaps impertinence fits best,