By Andrew Tracy A ways back, in Cinema Scope’s saddle-stitched days, I speculated (à propos Eagle Pennell’s excellent The Whole Shootin’ Match [1978]) on the curious dynamic between regional and “national” (i.e., New York and Los Angeles) filmmaking in the US. The fact is that the majority of successful regional filmmakers do not remain regional…

By Adam Cook One could label Richard Linklater’s oeuvre “sideline cinema”: it exists on the margins of the popular film world. Unlike a Tarantino or Wes Anderson, “Linklater” is too diffuse to be a brand, his filmography too varied (trailers for his films ensure that he’ll forever be “the director of Dazed and Confused [1993]”)…

By Olivier Père With The French Connection (1971), The Exorcist (1973), Sorcerer (1977), Cruising (1980), and To Live and Die in L.A. (1985), to cite some of his most famous films, William Friedkin has made a deep impact on contemporary American cinema, establishing himself as one of the most talented and uncompromising of the New…