Onathanrosenbaum

Orson Welles in the 21st Century

 Published in the Spanish newspaper El mundo as “El maverick impredecible” on Ma...

GHOST DOG as International Sampler

Written for a Criterion rerelease, released in November 2020.. — J.R. Alon...

Notes on the March to Montgomery

Here is my first-person reportage of the last laps of the original event, hurrie...

4 Little Girls

From the Chicago Reader (October 31, 1997). — J.R. This surprisingly humble doc...

When Bad Films Happen to Good Actors

From the Chicago Reader (July 22, 1988). — J.R. MIDNIGHT RUN ** (Worth seeing) ...

IN OLD CHICAGO

Written for the 2019 catalogue of Il Cinema Ritrovato in Bologna. — J.R. In my ...

Everyone Says I Love You

From the Chicago Reader (January 1, 1997). — J.R. This creepy Woody Allen musi...

Hallelujah, I’m A Bum!

This eccentric and soulful anarcho-leftist fantasy is probably the most underra...

FLOWERS OF SHANGHAI

Written for the 2019 catalogue of Il Cinema Ritrovato in Bologna. — J.R. Hou Hs...

Holy Smoke

From the Chicago Reader (January 25, 2000). — J.R. Jane Campion still has a re...

Citadel

Atom Egoyan’s new film, shot with a mini DV camera, shows Egoyan; his wife, act...

The Plucking of Three Birds of Paradise

I am reprinting the entirety of my first and most ambitious book (Moving Places:...

Life Intimidates Art [IRMA VEP]

From the June 13, 1997  Chicago Reader. July 17, 2022: I’ve just belatedly ca...

Life And Nothing More

From the Chicago Reader, probably in its October 1, 1992 issue. (The Reader‘s we...

Sylvia Scarlett

From the Chicago Reader (July 27, 2007). — J.R.     For my money, this 1935 f...

En movimiento: Denial Incorporated and Cinematic Substi...

My column for the December 2019  Caimán Cuadernos de Cine. — J.R. En movimiento:...

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