Paul Schrader

Latest Articles

Review: Watchmen

As a reimagining of the past, Watchmen is at times jaw-dropping.
When Watchmen concentrates on violence, it comes alive. When it meanders into metaphysics, which it does frequently and at length, it loses its way.
By A.S. HAMRAH | March 06, 2009

Paul Schrader at the HFA

American contradictions
"I'm not sure what happened to me," says Paul Schrader's Patty Hearst, one of the least reliable of the director's succession of unreliable narrators, in the film named for her.
By CHRIS FUJIWARA | January 29, 2009

Darkness visible

The HFA’s ‘Unseen Noir’ unveils America’s post-war gloom
Welcome to the dark territories again, the republic of bitterness and bile known as noir.
By MICHAEL ATKINSON | May 19, 2008

Redbelt

Pleasingly nuts
Not quite a neo-noir, still less a martial-arts movie, David Mamet’s taut, dank drama has a foot in each camp.
By GRAHAM FULLER | May 07, 2008

Glee and venom

Lacerating Harold Pinter at the Harvard Film Archive
Of the great modernist playwrights, Harold Pinter has had the most intimate relationship with film.
By MICHAEL ATKINSON | May 08, 2007

Here’s to you

Melanie Fiander’s “One Minute Introduction”
“Hey there, Mr. Jason Simon. My name is Melanie Fiander, and this is my film.”
By CHRIS THOMPSON | March 28, 2007

Horror scope

Robert Graysmith’s Zodiac obsession
When watching a serial-killer movie, I always suspect the person investigating the case is the culprit. Doing time: Fincher kills it without frills in Zodiac. By Peter Keough
By PETER KEOUGH | February 28, 2007

Dirty rotten scoundrels

Kenneth Fearing’s prescient creeps
According to Fearing, American success consists of mediocrity, corruption, ruthlessness that’s so second nature it’s business as usual, paranoia that’s actually a sensible determination to watch your back.
By CHARLES TAYLOR | August 05, 2006

EXTRAS! EXTRAS!

The 25 Greatest DVD Special Features of All Time
As much as I lament the continuing decline of attendance at the cineplex, it’s also easy to understand.
By BRETT MICHEL | April 25, 2006