Pairing together 20 films on a Top Ten List of waltzing motion pictures, it’s the 2015 Year in Film.
Adam McKay leaps from farcical comedies to true-life satire with his adaptation of “The Big Short,” a self-congratulating examination of bankers who saw the recent economic collapse looming.
After a 12 year hiatus, local space band Manplanet returns Saturday night to the Triple Rock, and we’ve received some special transmissions from them before they land back on earth.
The Star Wars saga continues with J.J. Abrams’ “The Force Awakens,” an effective though all-too-safe mystery box that is so focused on the future that it never quite sees where it is or what it’s doing.
Though intermittently vivid, Ron Howard’s whaling adventure “In the Heart of the Sea” demonstrates how easy it is to go soft in the face of both literature and history.
The best film opening this holiday weekend is Ryan Coogler’s “Creed,” an unexpectedly effective crowd-pleaser that builds atop the “Rocky” saga while revising it.
The Walker Art Center presents director Todd Haynes in dialogue Friday evening, along with a retrospective of some of his most acclaimed films, including “Far From Heaven,” “Safe,” and “I’m Not There.”
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.”