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Alan A. Stone

Alan A. Stone, Touroff–Glueck Professor of Law and Psychiatry at Harvard Law School, is author of Movies and the Moral Adventure of Life.

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Tilda Swinton, icon of indy cinema, is masterful in A Bigger Splash.

Alan A. Stone
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Terrence Malick’s Knight of Cups is lost in its own symbolism.

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In Paolo Sorrentino's Youth, the crossroads of despair and integrity.

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The Wonders subverts the typical female coming-of-age story.

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Isabel Coixet's Learning to Drive
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Michael Almereyda's Cymbeline

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Olivier Assayas's Clouds of Sils Maria

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Abderrahmane Sissako's Timbuktu

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Even if the facts are wrong, the feelings in Selma are right.

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Alejandro González Iñárritu's Birdman.

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Richard Linklater's Boyhood

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Pawel Pawlikowski's Ida

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John Turturro's Fading Gigolo.

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Catherine Hardwicke’s Thirteen.

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Arnaud Desplechin's Jimmy P.

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Joel and Ethan Coen's Inside Llewyn Davis.

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The Book Thief is a Holocaust story far removed from the one told by survivors.

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Alan Stone reviews Enough Said

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If there is a moral limit to artistic license, director Alice Winocour has gone beyond it in Augustine.

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Fitzgerald's novel is overrated, but the new film version deserves more credit than it has received.

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Abbas Kiarostami's Like Someone in Love

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Settling the Cinematic Torture Debate

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Paul Thomas Anderson’s The Master. 

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Midnight in Paris earned Woody Allen his fourth Oscar and was the biggest box office success in his long and productive filmmaking career.

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John Madden, the distinguished British director of The Best Exotic Marigold Hotel, tells us that his film has the structure of a Shakespearean comedy.

Alan A. Stone
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The Beat That My Heart Skipped by Jacques Audiard.

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Woody Allen’s You Will Meet a Tall Dark Stranger.

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Asghar Farhadi’s A Separation portrays an Iranian divorce under sharia law with sensitivity and pathos.

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Swinton gives her all to the martyred victim in We Need to Talk about Kevin.

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Lars von Trier’s Melancholia.

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If Greenaway correctly diagnosed the aesthetic crisis of modern film, The Tree of Life is the remedy.

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The director of The Hurt Locker takes on the 9/11 mastermind.

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Even the Rain (También la lluvia) Directed by Icíar Bollaín.

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Julie Taymor’s The Tempest.

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King Lear on the big screen.

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Luca Guadagnino’s I Am Love.

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Alan Stone reviews Marco Bellocchio’s Vincere.

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Alan Stone review Jacques Audiard's A Prophet.

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Alan Stone reviews Michael Haneke's The White Ribbon.

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Alan Stone reviews the Coen Brothers' A Serious Man.

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Quentin Tarantino’s Inglourious Basterds.

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Sacha Baron Cohen’s Brüno.

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Joe Wright’s The Soloist.

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In the City of Sylvia

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Stephen Daldry’s The Reader.

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Charlie Kaufman's Synecdoche, New York.

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Woody Allen’s Vicky Cristina Barcelona.

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Fatih Akin’s The Edge of Heaven.

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Tom McCarthy's The Visitor.

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The Coen brothers' No Country for Old Men.

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Paul Thomas Anderson's There Will Be Blood.

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David Cronenberg’s new film, A Dangerous Method.

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Sidney Lumets's Before the Devil Knows You're Dead.

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In the Valley of Elah, directed by Paul Haggis.

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Rescue Dawn, directed by Werner Herzog.

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Away From Her directed by Sarah Polley.

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Spike Lee's Do the Right Thing.

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A review of Alejandro Alejandro González Iñárritu's Babel.

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Stranger than Fiction is an unexpectedly delightful film that brings whimsy and grown-up humor back to the movies.

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André Téchiné's Changing Times.

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Reviewing Deepa Mehta's Water.

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Luc and Jean-Pierre Dardenne's L'Enfant.

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The Academy’s voters rejected Brokeback Mountain, but the film marks an important moment in Hollywood history.

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Pride and Prejudice directed by Joe Wright.

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Nine Lives directed by Rodrigo García.

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The Beat That My Heart Skipped, directed by Jacques Audiard.

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Kings and Queen, directed by Arnaud Desplechin.

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Michael Radford's The Merchant of Venice.
 

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Two Henry Vs.

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Hero, directed by Zhang Yimou.

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Bad Education, directed by Pedro Almodóvar.

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The Passion of the Christ, directed by Mel Gibson. 

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Burn!, directed by Gillo Pontecorvo.

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The Station Agent, directed by Thomas McCarthy.

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Sweet Sixteen and Raising Victor Vargas.

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Michael Moore's Bowling for Columbine.

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The Hours, directed by Stephen Daldry. 

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Reconsidering The Battle of Algiers.

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Zhang Yimou loses his muse.

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Jill and Karen Sprecher create characters worth believing in.

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We Were Soldiers, directed by Randall Wallace.

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John Nash and the Hollywood romance with mental illness.

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Intimacy, directed by Patrice Chereau.

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Divided We Fall, directed by Jan Hřebejk and Petr Jarchovský.
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The personal and aesthetic odyssey of China's premier director.

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Dancer in the Dark, directed by Lars von Trier. 

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Shower, directed by Yang Zhang.

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Michael Almereyda's high-tech Hamlet is–surprise!–a serious interpretation of Shakespeare. 

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Girl, Interrupted, directed by James Mangold. 

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Titus, directed by Julie Taymor.

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American Beauty and Elaine Scarry look for aesthetic experience in unexpected places. 

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King of Masks, directed by Wu Tian Ming.

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Star Wars Episode I: The Phantom Menace.

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The Autumn Tale, directed by Eric Rohmer.

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Life Is Beautiful, directed by Roberto Benigni.

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Beloved. directed by Johnathan Demme.

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The Governess, directed by Sandra Goldbacher.

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Lolita, directed by Adrian Lyne.

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Character, directed by Mike van Diem.

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