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    • From The Archives
      Last Refuge of a Rock Critic: A Bicentennial Search for Patriotism
      By Greil Marcus
    • NEWS & POLITICS ARCHIVES
      Rudy’s Ties to a Terror Sheikh
      By Wayne Barrett
    • PRIDE 2021
      Is Stonewall Inn’s Anheuser-Busch ‘Pour Out’ a Moment or a New Movement?
      By Frank Pizzoli
  • Path 2

    • From The Archives
      Last Refuge of a Rock Critic: A Bicentennial Search for Patriotism
      By Greil Marcus
    • ART 2021
      Beware Strategizing Painters Bearing Gifts
      By R.C. Baker
    • NEWS & POLITICS ARCHIVES
      Rudy’s Ties to a Terror Sheikh
      By Wayne Barrett
  • Path 2

    • Culture 2021
      Paul Fusco’s RFK Funeral Train is a Portrait of America
      By Shana Nys Dambrot
    • From The Archives
      Last Refuge of a Rock Critic: A Bicentennial Search for Patriotism
      By Greil Marcus
    • ENTERTAINMENT 2021
      How Makeup, Murder and Dark History Turned Bailey Sarian into a Social Media Superstar
      By Lina Lecaro
  • Find Weed Presented by Weedmaps
    Path 2

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  • FILM 2021
    Gay Generational Divide Explored in Low-Key Israeli Drama ‘Sublet’
    Equating Michael’s sight-seeing itinerary to “a Jewish princess on her birthright tour,” Tomer begins showing Michael the city
    by Chuck Wilson
    June 29, 2021
  • FILM 2021
    Nights of Alienation in the Noir Classic ‘Le Cercle Rouge’
    Jean-Pierre Melville's thieves and crooks and nowhere men are all resigned to their dooms, and never see any reason to get upset about it
    by Michael Atkinson
    June 25, 2021
  • FILM 2021
    It’s the ’90s again in ‘Every Breath You Take’
    We stand numbly by as the twitchy, grinning psycho stalks the family
    by Michael Atkinson
    April 5, 2021
  • FILM 2021
    Hoping for Death in ‘This is Not a Burial, It’s a Resurrection’
    Aware of it or not, global film culture is finally becoming authentically global
    by Michael Atkinson
    April 1, 2021
  • FILM ARCHIVES
    The Africentric Cinema of Julie Dash
    “Ostensibly about a Gullah fam­ily whose younger generation are making plans to leave their ances­tral islands for mainland U.S.A. at the crest of the 20th century, 'Daughters of the Dust' is also an interrogation of Black America's cleft soul, split between the quest for modernity and a hunger for the replenish­ment of roots.”
    by Greg Tate
    Originally published June 25, 1991
  • FILM ARCHIVES
    Surface Tension: Michael Mann’s “Heat”
    “Just as Miami remade itself to better resemble its image in Miami Vice, L.A. may rise eventually to Heat's desolate, sand­blasted impersonality.”
    by Amy Taubin
    Originally published December 26, 1995
  • FEATURE ARCHIVES
    Travels With a Geechee Girl
    “Verta maintains that the Gullah, who originally spoke a language they called Ngulla, were from Angola and that in prehistory — you know, when the continents were all at­tached — what is now South Carolina was joined to what is now Angola”
    by Thulani Davis
    Originally published April 12, 1988
  • FILM ARCHIVES
    Julie Dash Films Gullah Country
    “People who don't know any better think Gullah people talk funny. Those in the know realize that Gullah is a bona fide dialect and are confident in the scholarly thesis that 'Gullah' is a contrac­tion of 'Angola.'”
    by Greg Tate
    Originally published April 12, 1988
  • FILM ARCHIVES
    Godfather, Part II: The Corleone Saga Sags
    “The artiness of Coppola’s aesthetic ultimately becomes an ethic as Pacino, in somber profile, emerges more victim than villain, more a melancholy Dane than a bloody Macbeth.”
    by Molly Haskell
    Originally published December 23, 1974
  • FILM ARCHIVES
    The Godfather, Part III: Like Godfather …
    “Cop­pola and copilot Mario Puzo blast off for some cosmic Shakespear­ean netherworld of tearful solilo­quies and dynastic tragedy,”
    by J. Hoberman
    Originally published December 25, 1990

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