David Sterritt

The opening installment of Terry Gilliam’s “Trilogy of Imagination” reminds us we’d be better off if we paid more attention to the kid’s-eye view of things.

Lars von Trier brought his brand of provocation to his widest audience yet with this inquiry into faith and human goodness.

Errol Morris’s documentary investigation into the life and theories of Stephen Hawking sets one man against the universe.

John Frankenheimer burrows into the insidious side of the American sixties in his visually dazzling thriller.

Mike Leigh’s breakthrough is a funny film about serious things, and an emotional and slyly political take on consumer culture.

Misunderstood by Hollywood, embraced by critics, this fatalistic fantasy remains Terry Gilliam’s ultimate trip.

No mere jigsaw movie, David Fincher’s thriller is also a nuanced character study, a satire of corporate culture, and a film about filmmaking.

Robert Altman’s spellbinding drama about stolen identities is propelled by evanescent reveries of his own and inventive contributions from cast and crew.

Whatever you’ve heard about Sweet Movie, the audacious and outrageous political comedy by Yugoslav filmmaker Dušan Makavejev, there’s a good chance it’s wrong. Ever since this mischievous masterpiece had its Cannes premiere, in 1974, ill-advi

As usual, François Truffaut knew exactly what made a great film great. For twenty years, he wrote in 1967, he had been waiting for “the real film” about the Nazi occupation of France, showing the French majority “who were involved neither in t