David Thomson on Films: What Ever Happened to Meg Ryan?

And The Award Goes To...

The Problem with Oscar Voters: They All Look The Same

David Thomson on Films: ‘The Artist’ Was Awful—and Other Reasons I’m Not Watching the Oscars

HBO’s New Show Has Good Credentials, But Is That Enough?

How Iran Produced the Best Film of 2011—and What Americans Can Learn From It

David Thomson on Films: A Requiem to an Unjustly Forgotten Filmmaker

Thomson on Film: And the Oscar For Most Pointless Awards Show Goes To …

Thomson on Film: Why ‘The Artist’ Just Might Win the Oscars

Thomson on Films: The Oedipal Complexity of Early Psychoanalysis

David Thomson on Films: Tinker, Tailor, Boredom, Why?

David Thomson on Films: An Unsparing Portrait of American Breakdown

David Thomson on Films: Why Does This Movie Want Us to Feel So Miserable About Sex?

The Most Tender Tribute Marilyn Monroe Has Ever Received

David Thomson on Films: A Mainstream Movie for People Tired of Noise and Violence

Thomson on Films: Clint Eastwood’s Disappointingly Cautious Depiction of J. Edgar Hoover

David Thomson on Films: ‘Page Eight,’ a Small Screen Movie That’s Nonetheless About Large Issues

Thomson on Films: ‘In Time,’ a Film That Can’t Deliver on Its Own Provocative Ideas

Thomson: ‘Homeland,’ a Clever, Confident, and Cruel New Show That Trades in Paranoia

David Thomson on Films: A Road Film that Transcends Hippy v. Redneck Politics