David Thomson

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

The Gurney Shot: A Film Critic Goes Behind the Camera—In a Hospital

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

Riveting and Pointless: A Film Critic Reviews the Casey Anthony Spectacle

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

The Big Small Screen

David Thomson on Films: What Does a Producer Do?

David Thomson on Films: ‘The Trip’—A New Film from an Underrated Director

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’