The '70s

Steve Lippman is moved by the great writer-director's most personal and deeply felt film, a semi-autobiographical portrait set in 1950s New York City.

Steve Lippman continues his exploration of everyone's favorite cinematic decade by revisiting Forman's inexplicably overlooked social satire.

Death Cab for Cutie's multi-instrumentalist guides you through his favorite songs.

Steve Lippman continues his new column on '70s cinema with a look at two N.Y.C portraits by one of the era's most underappreciated directors.

With Russell's 1971 musical newly out on Blu-ray, Steve Lippman makes a case for the film being an underappreciated classic.

Jim Hemphill makes the case that, despite what Schrader himself may say, one of the director's most personal films is also one of his best.

A period coming-of-age dramedy, Heller's debut feature is a portrait of adolescence femininity that embraces complexity.

The late documentarian's lost 1974 film about Leon Russell is a mess, but that’s exactly why filmmakers today should be looking to it for inspiration.

Eli Roth's protégé and collaborator finds much to appreciate in the chilling debut from a fellow screenwriter turned director.

This French crime procedural moves at a slower pace than super-charged modern action movies, but still fetishizes its setting, violence, and drug use.

The tale of a tech geek with a thirst for fame, Herbie Hancock's new autobiography "might shed some light on why jazz is so fucked up nowadays."

Caught between love and fear, Marilyn Manson once again pulls the pin on the grenade over our own complacency.