Film periodicals combine discussion of individual films, genres and directors with in-depth considerations of the medium and the conditions of its production and reception. Their articles contrast with film reviewing in newspapers and magazines which principally serve as a consumer guide to movies.
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The publication recognized Columbia for its outstanding directing training and noted, "Students become thoughtful filmmakers by training in Columbia's Media Production Center and through constant collaboration with their peers. It has a massive alumni base, and its Semester in LA is one of the only year-round academic programs on a Hollywood lot."
MovieMaker is dedicated to the art and craft of making movies. Their list of the 40 Best Film Schools in the U.S. and Canada in 2022 appears in their new issue, with Emily the Criminal star Aubrey Plaza on the cover. You can view the complete list online here.
More than 1,600 film critics, academics, distributors, writers, curators, archivists and programmers were surveyed for the 2022 poll, nearly double the 846 polled in 2012. Each participant casts a ballot with ten unranked films, and each selected film receives one vote.
For the first time in Sight and Sound history, animated films have made the list. Hayao Miyazaki, the co-founder of Studio Ghibli, directed both of them: My Neighbor Totoro (1988) is tied at number 72, and Spirited Away (2001) is tied at 75.
As one of the world's most forward-thinking publishers, UC Press gives voice, reach, and impact to innovative research and exceptional scholarship. With a global circulation, our journals span the humanities, social sciences, and natural sciences, with key subject areas that include history, literature & criticism, film & media, music, religion, and sociology.
When the first Paddington was on the way, early trailers didn't look entirely promising. Yet co-writer/director Paul King delivered a truly wonderful film bursting with joy, imagination, kindness and just one or two hard stares. How was he going to follow that? Turns out, with more of the same, but also plenty of fresh pleasures. Paddington (bouncily voiced by Ben Whishaw) matches wits with washed-up actor Phoenix Buchanan (Hugh Grant, chewing scenery like fine steak), being framed for theft and getting sent to prison. Like all great sequels, it works superbly as a double bill with the original.
Celine Sciamma's magnetic, masterful lesbian romance may be a recent addition to this list, but became an instant landmark of queer cinema upon its release. Starring Noumie Merlant as an 18th century painter and Aduele Haenel as her elusive subject, Portrait Of A Lady On Fire is a tale of an epic love developed in the quietest, most delicate way, formed in stolen moments and glances. Sciamma's carefully constructed script is matched by Claire Mathon's cinematography, each shot like a Renaissance painting brought to life. Pure poetry.
James Cameron doesn't do things by halves. His movie about the 1912 sinking of the world's biggest cruise liner was the most expensive ever made, suffered a difficult, overrunning shoot, and was predicted to be a career-ending flop. But it turned out to be one of the most successful films of all time (in terms of both box office and Awards), and made him King Of The World.
Sofia Coppola's second film is the ultimate jet lag movie, locating its central almost-romance between listless college grad Scarlett Johansson and life-worn actor Bill Murray amid the woozy, daydreamy bewilderment of being in a very foreign country and a very different time zone. And it's exactly right that we still don't know what he whispered to her at the end.
For their follow up to the superb Shallow Grave, Danny Boyle (director), Andrew Macdonald (producer) and John Hodge (screenwriter) foolhardily elected to film the supposedly unfilmable: Irvine Welsh's scrappy, episodic, multi-perspective novel about Edinburgh low-lives. The result couldn't have been more triumphant: the cinematic incarnation of 'Cool Britannia' came with a kick-ass soundtrack, and despite some dark subject matter, came with a punch-the-air uplifting pay-off.
A joyous, vibrant Technicolor celebration of the movies, that's such an essential viewing experience there should perhaps be a law that it feature in every DVD and Blu-ray collection. It's no mere Hollywood self-love exercise, though. As star Don Lockwood, Gene Kelly brings a sense of exasperation at the film industry's diva-indulging daftness, making it a gentle piss-take, too.
Even given the darker tones of a few Key And Peele sketches, no one could have predicted that Jordan Peele would place himself on track to become a modern master of horror. And it all started with this, the Oscar-winning kick-off to his film career in which Daniel Kaluuya's Chris meets his girlfriend Rose's (Allison Williams) parents and discovers some truly shocking secrets. White guilt, specific racism, slavery and more blend into a socially conscious terror tale that rings every note with pitch-perfect accuracy. You'll never look at a cup of tea the same way again.
Adapted from Tarell Alvin's play In Moonlight, Black Boys Look Blue, Barry Jenkins' Oscar-winning drama is the kind of film that seeps under your skin and stays there. Tracking one man's life in three stages, and the love (and lack of it) that made him who he is, Moonlight evokes a sense of intimacy so palpable, the camera's gaze into the characters' eyes so intense, you can't bear to look away. Mahershala Ali and Naomie Harris are impeccable in supporting roles, with Trevante Rhodes and Andre Holland delivering an unforgettable final act.
If America were a person, then oil man Daniel Plainview (Daniel Day-Lewis) is a vampire. (A milkshake-drinking vampire, if you feel like mixing our metaphor with his own.) Which is why it's appropriate that Paul Thomas Anderson gives the film a bit of a horror-movie vibe throughout and Day-Lewis delivers such a deliciously monstrous performance... right up to the point where he spills literal blood in an empty mansion, haunted only by himself.
Juries most often amount to little more than set dressing in courtroom dramas. But Sidney Lumet's film finds all its drama outside the courtroom itself and inside a jury deliberation room packed with fantastic character actors, who are forced to re-examine a seemingly straightforward case by lone-voice juror Henry Fonda. It's all about the value of looking at things differently, and a reminder that nothing is more important than great dialogue.
Orson Welles' game-changing fictional biopic, that managed to both launch his film career and ruin it at the same time (turns out it's not a good idea to piss off powerful newspaper magnates by viciously satirising them to a mass audience). Not only did he use impressive new film-making techniques that make it feel like a movie far younger than its 76 years, but its power-corrupts story still resonates loudly. Now more than ever, in fact.
Aka David Fincher's second debut movie. What sounded like a daft, novelty serial-killer thriller turned out to be a deeply rattling proper-shocker, which had the guts to throw down its biggest narrative twist halfway through, as warped murderer-moralist John Doe gives himself up. A twist made all the more effective thanks to Kevin Spacey's insistence he wasn't billed until the end credits.
Christopher Nolan's tribute to 2001 and The Right Stuff (with a little added The Black Hole) presents long-distance space travel as realistically as it's possible to with the theoretical physics currently available. From the effects of gravity to the emotional implication of time dilation, it mixes science and sentiment to great effect. And it has a sarcastic robot, too.
The film-maker go-to movie du jour. Gareth Edwards cited Coppola's vivid and visceral jungle trek as a major influence on Rogue One; Jordan Vogt-Roberts drew from it extensively for Kong: Skull Island, and Matt Reeves sees War For The Planet Of The Apes as his own simian-related tribute. Hardly surprising; it's both a visually rich war movie and also a powerfully resonant journey into the darkest recesses of the human soul.
How two sibling indie film-makers with only a slick, sexy little crime film to their name (Bound) created their own blockbuster sci-fi franchise. And opened up western audiences to the truth that kung-fu acrobatics are so much more fun than watching American or European muscle-men waving guns around. While also making everyone examine some fundamental philosophical questions about reality. Thanks to the Wachowskis, we all took the red pill, and we've never regretted it. 2ff7e9595c
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