Glenn Kenny

The protagonists in Budd Boetticher’s five classic Columbia westerns are paired with opponents who, venal though they may be, almost always have their reasons.

Martin Scorsese’s long-gestating boxing opus—one of the last films on which he enjoyed unequivocal studio support—emerged from a Hollywood in transition.

A Prohibition-era gangster saga, the Coen brothers’ third feature is an enigmatic fable of violence, loyalty, and existential unease.

With its irresistible momentum and sonic crunch, “Easy Livin’” occupies a special place in one of the most celebrated sequences in Olivier Assayas’s filmography.

In this intimate psychological thriller, Olivier Assayas interrogates contemporary society’s near-religious reliance on technology and its mediation of reality.

Walter Matthau solidified his reputation as a formidable comedic force in this delightful Cold War espionage romp.

After a string of ill-fated productions, Francis Ford Coppola channeled his feelings of self-doubt in this deeply personal take on S. E. Hinton’s beloved novel.

This elegiac meditation on impermanence showcases Laurie Anderson’s playfully experimental approach to sound and image.

“King of the Nudies” Russ Meyer injects his transgressive exuberance into this big-studio send-up of Hollywood debauchery.

The salacious sixties phenomenon of the Dirty Book made its way to the big screen in this adaptation of Jacqueline Susann’s best seller.

Critic Glenn Kenny reveals the connection between two classics: Nicolas Roeg’s film Don’t Look Now and Robert Wyatt’s album Rock Bottom.

Working in America, German master Fritz Lang contributed to the anti-Nazi effort with this nightmarish, surreal tale of espionage.

It is pretty much a convention of the hard-boiled gangster picture that most, if not all, of the principal characters wind up dead by the final shot. So it ought not constitute a “spoiler” to note that Jean-Pierre Melville’s Le doulos hews to t