@tnyfrontrow.bsky.social
In re: The Knick, mentioned enthusiastically in the other place: just the other day, we were talking at home about it and a terrific nonfiction book that covers similar territory:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
One Good Thing about “The Knick”
Under the guise of its melodrama, the series is something of a scientific archeology of modern life.
www.newyorker.com
January 3, 2026 at 2:03 AM
In re: The Knick, mentioned enthusiastically in the other place: just the other day, we were talking at home about it and a terrific nonfiction book that covers similar territory:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
Word from way back on New York, New York, Martin Scorsese's view of the city's tense past by way of its still-raging romantic furies; at @movingimagenyc.bsky.social (the great new outpost of City Hall) at 6:15pm, in 35mm.:
www.newyorker.com/magazine/200...
www.newyorker.com/magazine/200...
Top of the Heap
Martin Scorsese’s “New York, New York”
www.newyorker.com
January 2, 2026 at 5:50 PM
Word from way back on New York, New York, Martin Scorsese's view of the city's tense past by way of its still-raging romantic furies; at @movingimagenyc.bsky.social (the great new outpost of City Hall) at 6:15pm, in 35mm.:
www.newyorker.com/magazine/200...
www.newyorker.com/magazine/200...
Among the best is What About Me, directed by and starring Rachel Amodeo, co-starring Richard Edson; a highlight of the year was doing a Q. & A. with them and the cinematographer Mark Brady at The Downtown Festival.
Happy 72nd Birthday to great character actor, musician, writer, and photographer Richard Edson, underrated but famous for films such as STRANGER THAN PARADISE, FERRIES BUELLER'S DAY OUT, PLATOON, GOOD MORNING, VIETNAM; EIGHT MEN OUT, DO THE RIGHT THING, STRANGE DAYS, MOMMA'S MAN, among others.
January 2, 2026 at 6:05 AM
Among the best is What About Me, directed by and starring Rachel Amodeo, co-starring Richard Edson; a highlight of the year was doing a Q. & A. with them and the cinematographer Mark Brady at The Downtown Festival.
The talk at dinner turned to Céline Dion, which brought to mind one of my favorite recent good bad movies, Aline, a by-the-numbers melodrama made weird by its performances, especially its director Valérie Lemercier playing the title character—at all ages:
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Aline
www.newyorker.com
January 2, 2026 at 2:09 AM
The talk at dinner turned to Céline Dion, which brought to mind one of my favorite recent good bad movies, Aline, a by-the-numbers melodrama made weird by its performances, especially its director Valérie Lemercier playing the title character—at all ages:
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Janus-faced popular populism of the Depression, on oddball comedic display in Frank Capra's You Can't Take It With You, on @tcmtv.bsky.social at 12:30am (ET):
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Jean Arthur on the Criterion Channel
www.newyorker.com
January 1, 2026 at 8:42 PM
Janus-faced popular populism of the Depression, on oddball comedic display in Frank Capra's You Can't Take It With You, on @tcmtv.bsky.social at 12:30am (ET):
www.newyorker.com/goings-on-ab...
www.newyorker.com/goings-on-ab...
Seems like Only Yesterday that I wondered why John M. Stahl's great 1933 melodrama is so rare and unreissued:
New Year’s Eve rabbit hole: first, my favorite auld-lang-syne movie, John M. Stahl’s Only Yesterday, is still awaiting a proper home-video and streaming release; then,… www.newyorker.com/magazine/201...
The Spirit of the Women’s-Rights Movement in a 1933 Film
“Only Yesterday” captures the shift in gender roles at a pivotal moment in history.
www.newyorker.com
December 31, 2025 at 9:57 PM
Seems like Only Yesterday that I wondered why John M. Stahl's great 1933 melodrama is so rare and unreissued:
Hearing that, when the ball drops, it will break open and spill a gross of orange Marty Supremes into Times Square.
December 31, 2025 at 6:25 PM
Hearing that, when the ball drops, it will break open and spill a gross of orange Marty Supremes into Times Square.
Listening to Don Giovanni, remembered that I took this picture a few weeks ago:
December 30, 2025 at 11:28 PM
Listening to Don Giovanni, remembered that I took this picture a few weeks ago:
More in the "people change" file: "Her commitment was again displayed when she hid the theatre notable Antoine Bourseiller. A sympathizer of the [Algerian independence party] FLN, he'd got a call advising him to get out of town because the Minister of the Interior Roger Frey and the police prefect
December 29, 2025 at 7:24 PM
More in the "people change" file: "Her commitment was again displayed when she hid the theatre notable Antoine Bourseiller. A sympathizer of the [Algerian independence party] FLN, he'd got a call advising him to get out of town because the Minister of the Interior Roger Frey and the police prefect
Word from a while back on Lubitsch's Trouble in Paradise and its classical modernity (tonight at @filmforumnyc.bsky.social at 6):
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
The Radical Power of Classic Comedies
www.newyorker.com
December 29, 2025 at 5:50 PM
Word from a while back on Lubitsch's Trouble in Paradise and its classical modernity (tonight at @filmforumnyc.bsky.social at 6):
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
In memory of Brigitte Bardot, who, in 1961, received an extortion letter from the French far-right terrorist group OAS (against Algerian independence); she gave the letter to L'Express with her response for publication, a refusal: "because I don't want to live in a Nazi country."
December 28, 2025 at 5:40 PM
In memory of Brigitte Bardot, who, in 1961, received an extortion letter from the French far-right terrorist group OAS (against Algerian independence); she gave the letter to L'Express with her response for publication, a refusal: "because I don't want to live in a Nazi country."
The honey story in Marty Supreme is Marty's "this is who we are" story: it's how he is all the time—desperation, rage, ruse, daring, shamelessness—to which he adds some implicit hyperbole all his own: that he, too, is fighting to survive and is his near-and-dears' only way out.
December 27, 2025 at 9:40 PM
The honey story in Marty Supreme is Marty's "this is who we are" story: it's how he is all the time—desperation, rage, ruse, daring, shamelessness—to which he adds some implicit hyperbole all his own: that he, too, is fighting to survive and is his near-and-dears' only way out.
I'd forgotten writing about The Meyerowitz Stories (New and Selected); strange—I liked it a lot at the time but have felt no desire to rewatch; maybe, for all the freer filmmaking, the writing still sits like a latke; may head to Netflix to find out:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
The Familial Furies of Noah Baumbach’s “The Meyerowitz Stories”
Baumbach’s latest film can be thought of as a remake of, a sequel to, and a drastic improvement upon “The Squid and the Whale.”
www.newyorker.com
December 27, 2025 at 6:19 PM
I'd forgotten writing about The Meyerowitz Stories (New and Selected); strange—I liked it a lot at the time but have felt no desire to rewatch; maybe, for all the freer filmmaking, the writing still sits like a latke; may head to Netflix to find out:
www.newyorker.com/culture/rich...
www.newyorker.com/culture/rich...
Reposted
12/25/77: John Cassavetes' Opening Night
w/Gena Rowlands, Ben Gazzara, Blondell, Stewart
Brilliant, Essential
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/12/o...
@thegaychingy.bsky.social: melmagazine.com/en-us/story/...
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
w/Gena Rowlands, Ben Gazzara, Blondell, Stewart
Brilliant, Essential
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/12/o...
@thegaychingy.bsky.social: melmagazine.com/en-us/story/...
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
December 25, 2025 at 7:50 PM
12/25/77: John Cassavetes' Opening Night
w/Gena Rowlands, Ben Gazzara, Blondell, Stewart
Brilliant, Essential
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/12/o...
@thegaychingy.bsky.social: melmagazine.com/en-us/story/...
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
w/Gena Rowlands, Ben Gazzara, Blondell, Stewart
Brilliant, Essential
More:
@redroomrantings.bsky.social: vaguevisages.com/2016/05/12/o...
@thegaychingy.bsky.social: melmagazine.com/en-us/story/...
@tnyfrontrow.bsky.social: www.newyorker.com/video/watch/...
A pleasure and an honor to chat with my friend and colleague @justincchang.bsky.social about the year in movies: link.newyorker.com/view/5bea068...
The New Yorker Daily Newsletter
link.newyorker.com
December 25, 2025 at 3:06 PM
A pleasure and an honor to chat with my friend and colleague @justincchang.bsky.social about the year in movies: link.newyorker.com/view/5bea068...
Reposted
Jim Jarmusch’s new film takes place in three parts. In each episode, parents are long-standing mysteries to their children—but only in the first two are the mysteries toxic, @tnyfrontrow.bsky.social writes.
newyorkermag.visitlink.me/is1FXo
newyorkermag.visitlink.me/is1FXo
“Father Mother Sister Brother” Explores the Mysteries of Family Life
Jim Jarmusch’s three-part drama, set in New Jersey, Dublin, and Paris, casts such notables as Adam Driver and Cate Blanchett in wry, ironic probes of grown children’s relationships with their parents.
newyorkermag.visitlink.me
December 23, 2025 at 8:30 PM
Jim Jarmusch’s new film takes place in three parts. In each episode, parents are long-standing mysteries to their children—but only in the first two are the mysteries toxic, @tnyfrontrow.bsky.social writes.
newyorkermag.visitlink.me/is1FXo
newyorkermag.visitlink.me/is1FXo
Reposted
Josh Safdie’s hectic new film, “Marty Supreme,” starring Timothée Chalamet, “is, essentially, ‘Uncut Gems’ but with a happy ending.” Read @tnyfrontrow.bsky.social’s review.
newyorkermag.visitlink.me/mQeih1
newyorkermag.visitlink.me/mQeih1
“Marty Supreme” ’s Megawatt Personality
In Josh Safdie’s hectic new film, Timothée Chalamet plays a gifted Ping-Pong player who’s also a born performer.
newyorkermag.visitlink.me
December 25, 2025 at 4:00 AM
Josh Safdie’s hectic new film, “Marty Supreme,” starring Timothée Chalamet, “is, essentially, ‘Uncut Gems’ but with a happy ending.” Read @tnyfrontrow.bsky.social’s review.
newyorkermag.visitlink.me/mQeih1
newyorkermag.visitlink.me/mQeih1
2. word (scroll down) on the sprawling, maudlin Song Sung Blue, with a performance by Kate Hudson that stands out of its bland confines:
www.newyorker.com/culture/goin...
www.newyorker.com/culture/goin...
Jim Jarmusch’s Ironically Optimistic Family Movie
Also: Graciela Iturbide’s tranquil photographs of Mexico, Hugh Jackman and Kate Hudson in “Song Sung Blue,” the coke-rap of Clipse, and more.
www.newyorker.com
December 25, 2025 at 12:34 AM
2. word (scroll down) on the sprawling, maudlin Song Sung Blue, with a performance by Kate Hudson that stands out of its bland confines:
www.newyorker.com/culture/goin...
www.newyorker.com/culture/goin...
With Dec. 25 releases, unfortunate to wax critical on a holiday, but they're selling tickets, so...
1.
Shaker furniture: simplicity as style
The Testament of Ann Lee: lack of style as simplicity; neither austere enough nor ecstatic enough for its ambitions.
1.
Shaker furniture: simplicity as style
The Testament of Ann Lee: lack of style as simplicity; neither austere enough nor ecstatic enough for its ambitions.
December 25, 2025 at 12:26 AM
With Dec. 25 releases, unfortunate to wax critical on a holiday, but they're selling tickets, so...
1.
Shaker furniture: simplicity as style
The Testament of Ann Lee: lack of style as simplicity; neither austere enough nor ecstatic enough for its ambitions.
1.
Shaker furniture: simplicity as style
The Testament of Ann Lee: lack of style as simplicity; neither austere enough nor ecstatic enough for its ambitions.
Three versions of it, three long-ago words on The Arkadins Project:
www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
www.newyorker.com/magazine/200...
www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
www.newyorker.com/magazine/200...
DVD of the Week: Mr. Arkadin
Richard Brody on Orson Welles's "Mr. Arkadin" (1955).
www.newyorker.com
December 24, 2025 at 9:17 PM
Three versions of it, three long-ago words on The Arkadins Project:
www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
www.newyorker.com/magazine/200...
www.newyorker.com/culture/rich...
www.newyorker.com/goings-on-ab...
www.newyorker.com/magazine/200...
One thing that The Phoenician Scheme has done for the world (beside trying to beautify it) is to return Orson Welles's Mr. Arkadin to the forefront of cinephile attention; in that spirit, Christmas Merry and may you feast on the goose liver of your dreams.
December 24, 2025 at 5:21 PM
One thing that The Phoenician Scheme has done for the world (beside trying to beautify it) is to return Orson Welles's Mr. Arkadin to the forefront of cinephile attention; in that spirit, Christmas Merry and may you feast on the goose liver of your dreams.
Imagine making this movie, a masterpiece for the ages, and the phone not ringing.
12/23/65: Welles' Chimes at Midnight
w/OW, Jeanne Moreau, John Gielgud ++
More:
@szacharek.bsky.social: www.villagevoice.com/orson-welles...
@glennkenny.bsky.social: www.rogerebert.com/features/the...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
w/OW, Jeanne Moreau, John Gielgud ++
More:
@szacharek.bsky.social: www.villagevoice.com/orson-welles...
@glennkenny.bsky.social: www.rogerebert.com/features/the...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
Orson Welles's Mighty “Chimes at Midnight”
The new restoration of Welles’s neglected masterpiece is a cinematic event of the first order.
www.newyorker.com
December 23, 2025 at 9:55 PM
Imagine making this movie, a masterpiece for the ages, and the phone not ringing.
Reposted
12/23/65: Welles' Chimes at Midnight
w/OW, Jeanne Moreau, John Gielgud ++
More:
@szacharek.bsky.social: www.villagevoice.com/orson-welles...
@glennkenny.bsky.social: www.rogerebert.com/features/the...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
w/OW, Jeanne Moreau, John Gielgud ++
More:
@szacharek.bsky.social: www.villagevoice.com/orson-welles...
@glennkenny.bsky.social: www.rogerebert.com/features/the...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
Orson Welles's Mighty “Chimes at Midnight”
The new restoration of Welles’s neglected masterpiece is a cinematic event of the first order.
www.newyorker.com
December 23, 2025 at 4:05 PM
12/23/65: Welles' Chimes at Midnight
w/OW, Jeanne Moreau, John Gielgud ++
More:
@szacharek.bsky.social: www.villagevoice.com/orson-welles...
@glennkenny.bsky.social: www.rogerebert.com/features/the...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
w/OW, Jeanne Moreau, John Gielgud ++
More:
@szacharek.bsky.social: www.villagevoice.com/orson-welles...
@glennkenny.bsky.social: www.rogerebert.com/features/the...
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
So much effort goes into finding elaborate subtexts for films of anonymous realism that, when a film of great style comes along, its style dominates discussion and its substance, being overlooked, is declared nonexistent.
December 23, 2025 at 2:40 AM
So much effort goes into finding elaborate subtexts for films of anonymous realism that, when a film of great style comes along, its style dominates discussion and its substance, being overlooked, is declared nonexistent.
Reposted
12/22/62: Welles' The Trial
w/Anthony Perkins, OW, Moreau, Romy Schneider
OW: My "most autobiographical film"
More
@tnyfrontrow.bsky.social: www.newyorker.com/goings-on-ab...
@bilgeebiri.bsky.social: moviemezzanine.com/mezzanine-es...
@shelaghrowanlegg.bsky.social: screenanarchy.com/2023/09/the-...
w/Anthony Perkins, OW, Moreau, Romy Schneider
OW: My "most autobiographical film"
More
@tnyfrontrow.bsky.social: www.newyorker.com/goings-on-ab...
@bilgeebiri.bsky.social: moviemezzanine.com/mezzanine-es...
@shelaghrowanlegg.bsky.social: screenanarchy.com/2023/09/the-...
THE TRIAL Blu-ray Review: Criterion Takes on Orson Welles' Masterpiece
Long awaited by cinephiles and Orson Welles fans, it took longer than it should for The Trial to be restored. At last, Welles' favourite of his own films has been given the Criterion treatment. It...
screenanarchy.com
December 22, 2025 at 2:49 PM
12/22/62: Welles' The Trial
w/Anthony Perkins, OW, Moreau, Romy Schneider
OW: My "most autobiographical film"
More
@tnyfrontrow.bsky.social: www.newyorker.com/goings-on-ab...
@bilgeebiri.bsky.social: moviemezzanine.com/mezzanine-es...
@shelaghrowanlegg.bsky.social: screenanarchy.com/2023/09/the-...
w/Anthony Perkins, OW, Moreau, Romy Schneider
OW: My "most autobiographical film"
More
@tnyfrontrow.bsky.social: www.newyorker.com/goings-on-ab...
@bilgeebiri.bsky.social: moviemezzanine.com/mezzanine-es...
@shelaghrowanlegg.bsky.social: screenanarchy.com/2023/09/the-...