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.
The Niles Files offers up his annual best in the year of film roundup – plus Honorable Mentions, Favorite Performances, and The Hall of Disappointment.
Though still hyperbolic and feeling like a 165-minute video game, “The Hobbit: The Desolation of Smaug” marks a huge improvement for Peter Jackson’s three-part adaptation of J.R.R. Tolkien’s beloved novel.
Throughout December, the Trylon features “The Underrated Stanley Kubrick”: “Paths of Glory,” “Killer’s Kiss,” “Fear and Desire,” “Barry Lyndon,” and “Lolita.”
The Niles Files looks back on Martin Scorsese’s “The Age of Innocence,” which initiated a more somber, prestigious stage of the filmmaker’s later years.
The annual Sound Unseen Film and Music Festival kicks off today with “Every Everything,” a documentary about Husker Du founder Grant Hart. For the next week, Sound Unseen curator Jim Brunzell III rocks the Twin Cities at the Landmark Center, the Trylon, and McNally Smith College of Music.
Abdellatif Kechiche’s “Blue is the Warmest Color” has gotten attention for its extended sex scenes between two female leads, but the film is also a tender and sympathetic look at first love between people from disparate psychological and social arenas.
The Walker highlights the world of visual artist-turned-narrative filmmaker Steve McQueen, whose new film “12 Years a Slave” brilliantly displays how changing circumstances lead individuals to a different experience of the world around them.
Ridley Scott directs Cormac McCarthy’s first screenplay “The Counselor,” an unnerving cartel thriller of excessively lavish lifestyles under the author’s trademark assault of unexpected death.
The annual Twin Cities Film Festival features 50 films from Thursday October 17 and runs until Saturday October 26 at St. Louis Park’s West End Icon Theater. In addition to filmmakers and cast members presenting their work, local short films, complimentary programs, and social mixers, the fest features the local premieres of high profile holiday releases like Alexander Payne’s “Nebraska” and John Wells’ “August: Osage County.”
Actor Stephen Tobolowsky will be in person talking about his approach to storytelling at the Walker this Wednesday, October 9, preceded by a screening of his collaboration with David Byrne, the 1986 comedy “True Stories.”
Alfonso Cuarón’s stunning astronaut story “Gravity” is a spectacular 3-D outer space experience, but it resonates deeply as a continuation of the filmmaker’s mythic stew of realism and symbolic fable-making when so often people get lost in the functional engineering of work and relationships.
Centered around a child kidnapping, “Prisoners” is an unexpectedly potent and wholly absorbing small-town thriller imbued with the ghostly atmosphere of a frantic nightmare.
Niles enters melodic territory and lists some of his favorite uses of pop music during a film’s end credits.