Drawing from various retrospectives, the Walker Art Center begins its Summer Nights / Cool Cinema series this week.
Looking at “Fifty Shades of Grey” as a subtly derisive and class conscious critique of the phenomenon surrounding the film.
Niles doesn’t want to talk about movies as much as he wants to talk about himself in his last minute bid at Oscar punditry.
At long last, film columnist Niles Schwartz lays out his selections of 2014’s best films, a year that, from “Grand Budapest Hotel” to “Gone Girl” to “Birdman” to “National Gallery,” repeatedly considered the notion of Life as Art.
Frederick Wiseman’s “National Gallery,” a stirring and fascinating documentary that goes behind the masterpieces and into the offices of London’s National Gallery, plays this weekend at the Walker Cinema.
A spotlight on Jim Brunzell, back in Minnesota this November to program the Twin Cities’ celebrated fusion of music and movies, Sound Unseen, now in its 15th year.
Jean-Luc Godard’s 3-D marvel “Goodbye to Language,” a glowing and provocative cinema essay on technology and history, screens this weekend at the Walker Art Center cinema.
The Muller Family Theaters Willow Creek Cinema in Plymouth is one of only 10 standard theaters in the country to be projecting Christopher Nolan’s “Interstellar” in mostly obsolete 70mm film, and the only one in the Midwest.
The Walker Art Center’s Derek Jarman series concludes this Wednesday evening with a screening of his audacious final film, “Blue.”
Derek Jarman’s “Wittgenstein,” a playful biopic of the influential 20th century philosopher, screens Wednesday October 22 at the Walker Art Center.
With the announced return of David Lynch and Mark Frost’s cult TV classic “Twin Peaks,” Niles considers the legacy of the show and speculates what the return means.
The Walker Art Center’s Derek Jarman retrospective continues Wednesday with “The Angelic Conversation.”
A month-long Wednesday night retrospective on late iconoclastic filmmaker Derek Jarman begins tonight, October 8, at the Walker Art Center with his punk classic “Jubilee,” in addition to his short music promos for Marianne Faithful’s “Broken English” and The Smiths’ “The Queen is Dead.”
The doldrums of September means Niles is bored and whiney about the fun people are having in Toronto and Telluride.
Niles looks at the idiosyncratic formal properties of Steven Soderbergh’s new television show “The Knick” and how they’re integral to how the show functions as a medical drama.
Niles looks back at the ultimate anti-summer movie with an in-depth analysis of Stanley Kubrick’s sexual drama “Eyes Wide Shut,” released 15 years ago today.
With the recent onslaught of online articles pointing out the anniversaries of movie release dates, Niles wonders if we’re actually writing and reading about our own lives and memories more than the films being appreciated.
Tom Cruise’s comic sci-fi action film “Edge of Tomorrow,” demonstrates how the world’s once-biggest-movie-star is now a necessary Hollywood anomaly in an industry driven by franchises and hackneyed formulas.
Kelly Reichardt’s terrific eco-noir “Night Moves,” a stunningly suspenseful maze of environmental activism and psychological dread, is currently playing at the MSP Film Society at St. Anthony Main.
Recently named one of the ten best films of all time by the British Film Institute, Dziga Vertov’s Soviet film manifesto, “The Man With a Movie Camera,” will be screening through June 30 at the Walker Art Center.
Niles Schwartz eulogizes iconic cinematographer Gordon Willis (“The Godfather” trilogy, “All the President’s Men,” “Annie Hall”), one of the last century’s great illuminators.
Niles compares two recent faith-based films, Darren Aronofsky’s strange and formidable “Noah” and the softer–if more insidious–“God’s Not Dead.”
For the fourth annual April Fools edition of the Niles Files, Niles takes a look back at Vince McMahon and Hulk Hogan’s 1989 masterpiece of commerce and bodies, “No Holds Barred,” the only film in history to open with the name “Jesse Ventura.”
Martin Scorsese’s controversial “The Wolf of Wall Street” heads to DVD and Blu Ray this week, and Niles explores the recurring motif of television in the film, as compared to Scorsese’s warm ode to illusions, “Hugo.”
Newly available on DVD and Blu Ray, Niles returns to one of 2013’s richest and most mystifying films, the Coen brothers’ “Inside Llewyn Davis,” a Joycean marriage of the terrene and divine in the 1960s Greenwich Village folk scene.
Niles goes over the winners of Sunday night’s Academy Awards ceremony while briefly speculating on possibly players for next year.
Niles offers his predictions and choices for the 86th Annual Academy Awards, which happen on Sunday, March 2.
The Trylon hosts a thrilling David Lynch weekend retrospective, “Surreal Marvel,” with a new 35mm print of “Eraserhead” beginning Friday, and screenings of “Dune,” “Mulholland Drive,” “Wild at Heart,” and “Blue Velvet” to follow.
Steve McQueen’s “12 Years a Slave” has been criticized for its aestheticism and formal approach, but the film suggests that the creative will to authorship is a mode of resistance.
Martin Scorsese’s “The Wolf of Wall Street” is a startling cousin of Scorsese’s little-seen “Bringing Out the Dead,” as the two films, both set in the early ’90s, explore civil responsibility (or the utter lack of it) during New York’s crucial turning point.