Founded in 1962 and originally released as a quarterly, Film Comment features reviews and analysis of mainstream, art-house, and avant-garde filmmaking from around the world.
Kevin Smith’s Dogma, Leopoldo Trieste, Ann Sothern, Ang Lee’s Ride with the Devil, Woody Allen’s Sweet and Lowdown, Victor Mature, Chris Smith’s American Movie, Tim Robbins’s Cradle Will Rock
David Fincher and Fight Club, Stanley Kubrick’s Eyes Wide Shut, Spike Jonze’s Being John Malkovich, Clive Brook’s On Approval, Catherine Breillat, Hou Hsiao-hsien, The Third Man and Touch of Evil, Steven Soderbergh, Tom Twyker’s Run Lola Run
Albert Brooks interview, Cannes 1999 coverage, Oliver Reed, Robert Bresson symposium, Fred Zinnemann's Act of Violence, Hirozaku Kore-eda, Alfred Hitchcock, François Truffaut, The Blair Witch Project, Léos Carax’s Les Amants du Pont-Neuf
Mike Nichols interview, Robert Bresson symposium, Tehran Film Festival, Berlin Film Festival, Doug Liman’s Go, Claude Jutra’s Mon Oncle Antoine, David Cronenberg’s eXistenZ
Bernardo Bertolucci's Besieged, Julia Sweeney, Alfred Hitchcock's Notorious, the Gay Nineties, Ben-Hur, Eddie Romero, Warren Sonbert, Rotterdam and Sundance 1999 coverage
Terence Malick's The Thin Red Line, Milton Moses Ginsburg on Coming Apart, Wes Anderson, Akira Kurosawa, John Carpenter, Jacques Becker, Aleksei German, Petulia, Small Change, Happiness, and Best Films of 1998, the Avant-Garde in 1998
