While they’re renowned for their sparkling dialogue and witty repartee, Woody Allen’s films don’t tend to be especially remarkable for their visual beauty. Manhattan is [...]

Billy Madison was Adam Sandler’s most vital film, but Happy Gilmore was his most polished. In fact, Billy Madison nailed Sandler’s comic persona so purely and perfectly [...]

Mean Streets was the first epochal film in Martin Scorsese’s career – and he seemed to know it, opening with three motifs that signal the direction he would take over the [...]

Something vital occurs when an actor discovers their perfect persona – an extrapolation of their whole comic world that carries an entire world along with it. So it was [...]

All of Michael Cimino’s films are remarkable in one way or another, but he made two bona fide American epics during his peak in the late 1970s – Heaven’s Gate, and The [...]

Martin Scorsese had less control over his second film than any other in his career, and as a result it’s his least distinctive release, even if it required a certain amount [...]

Fred Zinnemann’s penultimate film was an adaptation of a memoir that seemed almost impossible to translate to the big screen – Lillian Hellman’s Pentimento, released in [...]

Before Billy Madison and Happy Gilmore, and before his bit parts in early 90s comedies, Adam Sandler introduced himself to the film world with Going Overboard, an [...]

Martin Scorsese’s first film was a remarkable debut, pairing a jagged New Wave vibe with second-generation Catholic guilt, and focused more on capturing a particular [...]

Samuel Delany once suggested that the healthiest and happiest state of affairs was to be in a loving long-term relationship with a rotation of anonymous sexual encounters on [...]