David Thomson on Films: ‘Take Shelter,’ an Arresting Film About How Small Town Ohio Is Cracking Apart

David Thomson on Films: Two Works of Social Criticism Masquerading as Thrillers

David Thomson on Films: Remembering Margaret Sullavan, Who Would Have Been 100 (or 102) This Year

Thomson on Films: ‘Drive,’ a Cool, New Noir That Degenerates Into a Bloodbath

Thomson on Films: Cliff Robertson and the Sordid Ways of Old Hollywood

David Thomson on Films: ‘The Hour’ Is the Most Complex and Absorbing Story Currently Playing on Any Screen

David Thomson on Films: Skip This Remake of ‘Brighton Rock’ and Catch the Grim, 1947 Original

David Thomson on Films: ‘One Day,’ A Gimmicky ‘New’ Attempt at an Old-Fashioned Love Story

David Thomson on Films: Remembering the Man Who Mastered Technicolor

David Thomson on Films: ‘Rise of the Planet of the Apes’ is Slick, Breathless, and Daft

David Thomson on Films: The Lonely Legacy of Nicholas Ray

David Thomson on Films: 'Harry Potter and the Deathly Hallows: Part 2'

David Thomson on Films: ‘Larry Crowne’ Could Have Tackled the Challenges America Faces Today. Instead, Its Story Is Stale and Cheap.

David Thomson on Films: Why I Loved Peter Falk as Columbo

David Thomson on Films: What Does a Producer Do?

Stanley Kauffmann on Films: The Whole Thing

David Thomson on Films: Hollywood Hopeful

David Thomson on Films: ‘Midnight in Paris’

David Thomson on Films: Who Killed Jack Sparrow?

David Thomson on Films: ‘The Arbor’