“A lot of ‘em are gone…the old faces,” Terence Stamp’s Wilson says flatly an hour into Steven Soderbergh’s exquisite neo-noir “The Limey,” with a twinge of sadness he doesn’t allow himself to let breathe. Wilson has come from England after a nine-year stretch for petty crime. An escape followed by an escape. Stamp knew what

Memory is a funny thing. It can form and unwind us, ground and unmoor us. It can also trick us, probably because it’s so aligned with the fluidity of time. In this latest Locarno dispatch, there are three films that consider the effect of time and memory as a creative tool, a language, and a

Video games and film/TV have long had a symbiotic relationship, influencing one another even more in an era when titles like “The Last of Us” and “Fallout” have become critical darlings in multiple forms. What’s even more entertaining for lovers of film and games is when the influences aren’t quite as direct as the art

To vibe with “The Rainmaker,” you first have to be down with its network, USA. The basic cable standard is not known for its cutting-edge or award-winning content (like, say, FX). But it has produced a reliable stable of procedurals, audience favorites, and even some cultural moments (see “Suits”). The USA Network certainly has its

Each episode of Noah Hawley’s brilliant “Alien: Earth” opens with what could be called an overture. As the title takes shape (much like the original, groundbreaking Ridley Scott film), images flash across the screen as a sort of twisted “Previously On.” But they also sometimes contain new data, much like a composer integrating previous themes

For many years, Roger Ebert hosted an annual event at the Conference on World Affairs in Boulder, Colorado, called Cinema Interruptus. It was spread out over four days. On day one, the audience would watch a movie together in the usual way. Over the next three consecutive days, they would meet again and do a