From the Annals of Reinvention: Vidal Sassoon
By MARGY ROCHLIN
Vidal Sassoon talks about a new documentary that covers his trajectory from working-class London tough to the King of Hair.
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Young girls crowded into a Times Square movie theater to see the New York premiere of “Never Say Never” and to catch a glimpse of the film’s subject, Justin Bieber.
With the Academy Awards coming up, an afternoon of lobbying over sushi and salad.
The Sundance Film Festival has had its share of oversights and triumphs, but despite the economic hard times and myriad uncertainties, it feels as urgent as ever.
The South Korean actress Yun Jung-hee, last seen on screen in 1994, has received accolades for her performance in Lee Chang-dong’s latest film, “Poetry.”
Vidal Sassoon talks about a new documentary that covers his trajectory from working-class London tough to the King of Hair.
Now out on DVD: Joseph Losey’s “Prowler” and Walt Disney’s “Alice in Wonderland.”
Ms. Satana, a Japanese-American actress with tough demeanor and buxom appeal, was most famous for Russ Meyer’s “Faster, Pussycat! Kill! Kill!”
Movie audiences in North America spent about $75.4 million on tickets over the weekend, a 24 percent decline from a year earlier.
A filmmaker looks beyond the myth to find the man.
A study of Humphrey Bogart’s life and his lasting influence on American film.
Ms. Nyman’s performance in the sexually explicit movie “I Am Curious (Yellow)” raised the hackles of censors in the 1960s and helped turn the film into a box office bonanza.
Revenue rose at the company’s big cable networks, including MTV and Comedy Central, while its Hollywood unit fell sharply despite box-office hits.
Though Ms. Schneider tried to move beyond the notoriety, her sex scenes with Marlon Brando in “Last Tango in Paris” defined her career.
Siblings move in together, find a social niche, then encounter a bit of intrigue in “Cold Weather.”
“How I Ended This Summer,” set at an Arctic weather station, is a suspenseful man-braving-the-elements adventure and a psychological thriller.
“What Women Want” is a Chinese remake of the American romantic comedy that starred Mel Gibson and Helen Hunt.
The film — a ripoff of Barbet Schroeder’s deliciously trashy 1992 thriller, “Single White Female” — staggers from limp beginning to lame conclusion.
The title role in “The Other Woman” is played by Natalie Portman, a second wife dealing with complications in her marriage.
In the 3-D “Sanctum,” a group of expert cavers tries to rappel, swim, climb, crawl, squeeze and swim some more where no one has gone before.
James Keach’s new movie, “Waiting for Forever,” is a meditation on childhood extended beyond natural boundaries.
The documentary “American Grindhouse” is a textbook-style history of the seamier side of the movie business.
“Dressed” is David Swajeski’s profile of the young clothing designer Nary Manivong.
The documentary “Home” is a wake-up call delivered with bedtime-story unctuousness.
“Into Eternity” is Michael Madsen’s documentary about a site being built in Finland to bury nuclear waste for 100,000 years.
The documentary “Troubadors” looks at the West Hollywood nightclub that nurtured Carole King, James Taylor and other talents of the 1970s singer-songwriter movement.
Aaron Katz discusses shooting "Cold Weather" in his hometown of Portland, Ore.
Melena Ryzik visits Trent Reznor in his home studio to discuss his work on the score of "The Social Network."
A .O. Scott looks back at Andrei Tarkovsky's film about space and consciousness, memory and loss.
Melena Ryzik visits the studio of Kate and Laura Mulleavy, the sisters behind the fashion label Rodarte. In their first foray into movies, they designed the costumes for "Black Swan."
A. O. Scott looks back at John Schlesinger's film about an inveterate daydreamer.
Images from some of the movies appearing in Film Forum’s series on the director.
In this series, directors discuss ideas and techniques behind moments in their films.
This guide includes links to the original reviews from the archives of The New York Times.
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