I forgot to post a link to the last Damaged Goods column on the “Talking Head” series at Anthology Film Archives, which has already ended. The new column is up as well, this time on the Japanese New Wave and the Koreyoshi Kurahara box set that Criterion Collection is releasing this week.

At Interview Magazine, I had a short conversation with Evgenia Peretz about the film she co-wrote, Our Idiot Brother, which will be in theaters tomorrow.

While my nephew’s birthday party was raging above me, I sat in the basement of my brother’s house and talked to Damian from Fucked Up. Here is the result.

I had a conversation with William Lustig, the man behind the film series of the summer, for Interview Magazine.

The new “Damaged Goods,” all about the “Essential Pre-Code” series at Film Forum, is up at Bomb Magazine.

I spoke with James Marsh about his new film, Project Nim, for New York Press/CityArts

The latest “Damaged Goods” column, at Bomb Magazine, is all about Les Blank.

Damaged Goods is the name of the column I write for Bomb Magazine. Last week it was Hellman and Hopper, this week Rohmer and Eustache.

At CityArts, I spent a short minute with John Turturro’s latest, Passione.

At New York Press (also published in CityArts), I had a blast looking back at musicals from the 1970′s for the essential program at Anthology.

Pleased to announce a new column I’m writing for Bomb Magazine. It’s called Damaged Goods, and the first installment is up on their site.

A short preview of the upcoming program of new Italian cinema at Lincoln Center, online only for CityArts.

Click here to read.

While randomly browsing the online archives of Harper’s Magazine, a perk affixed to my print subscription and something of a problem when real work needs to be wrapped up, I happily stumbled into this:

“A director,” Lang said one day while leaving the Palais at Cannes, “should lead a full life. The trouble with some directors today” –here he gestured back at the film he had just seen– “is that their experience is too narrow. All they seem to know is other movies.”

The above makes an appearance in a piece titled, “The Annual Rites at Cannes,” by Arthur Schlesinger, Jr. The Lang mentioned is, of course, Fritz, who was president of the competition jury in 1964, the year the article was written.

A fun game: replace “director” with “film-critic” in the above and you have, I don’t know, something of an idea of what it feels like reading reports coming out of the festival this year. Or most years, for that matter.

A short little thing I wrote about the four-hour “master class” with Apichatpong Weerasethakul at the New Museum last Sunday, for Bomb Magazine.