Q/A: Terrence Howard
There was one good thing about Malcolm Lee’s 1999 studio film The Best Man: Terrence Howard. I wrote a review…
There was one good thing about Malcolm Lee’s 1999 studio film The Best Man: Terrence Howard. I wrote a review…
I am Marc Vogl, a 30-something East Coast kid who came out to San Francisco in the 90s following a…
There is a mystique to filmmaking—the silvery light that reflects off the screen, the way the story shapes a character’s…
In New York, a rooftop is not merely a rooftop. Part refuge, part observation deck, the roof is where New…
Flipping through the catalog of this year’s Sundance Film Festival, the faces of American narrative filmmakers are unsurprisingly still predominantly…
While covering the 2003 St. Louis Filmmakers Showcase, where one of my films was showing, Joe Williams, film critic of…
Several couples chat casually, surrounded mostly by empty red velvet seats inside Brookline, Massachusetts’s Coolidge Corner Theatre in early November….
Cinema was born as a short form. Most early films were mere seconds long. Throughout the history of celluloid, countless…
The line to see The Last Word at the Minneapolis Oak Street Cinema snakes down the block, splitting in two…