Zachary Wigon

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  • On the surface, Mario Monicelli's 1960 comedy The Passionate Thief bears similarities to contemporary entries in the one-crazy-night genre. There is a limited-timeframe narrative (one night), a uniting event (New Year's Eve), an episodic...

  • Surprisingly -- and pleasantly -- restrained in its delivery, Abel Ferrara's Welcome to New York is the sort of picture that withholds judgment of its protagonist so that viewers have space to make their own. The approach is fitting since...

  • It seems as if, for every ten issue-oriented documentaries that essentially function as long-form magazine articles with images attached, we get perhaps one doc that exemplifies the methods of "direct cinema" -- the observational mode of...

  • 2 months ago | Film Reviews

    It seems as if, for every ten issue-oriented documentaries that essentially function as long-form magazine articles with images attached, we get perhaps one doc that exemplifies the methods of "direct cinema" — the observational mode of docu...

  • 5 months ago | Film and TV

    With the first two documentaries in her post–9-11 trilogy -- My Country, My Country, a portrait of Iraq under American occupation, and The Oath, which focused on two Guantánamo Bay prisoners -- Laura Poitras seemed to be making a bid ...

  • "I think you have a problem with people," Rick Smolan (Adam Driver) informs Robyn Davidson (Mia Wasikowska) in the middle of the desert. The utterance comes midway through Tracks, John Curran's true-story narrative of Davidson's 1,700-mile...