Last week on Film Club, critics A.A. Dowd and Katie Rife discussed Christopher Nolan’s massively popular Dark Knight trilogy. This week, in the third part of our month-long series on Nolan’s filmography, they’re pulling a Memento and dicing up the timeline to discuss the movies the director made directly before and directly after his first trip to Gotham. It’s two smaller-scale thriller adaptations for the price of one: Insomnia, Nolan’s work-for-hire remake of a Norwegian detective thriller, and The Prestige, his twisty take on the Christopher Priest novel about dueling 19th-century magicians.

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For the second installment in our month-long series on the films of Christopher Nolan, critics A.A. Dowd and Katie Rife revisit the blockbuster comic-book franchise that made him one of the world’s most celebrated directors. Nearly a decade later, which entry in the trilogy holds up best? And how did this particularly operatic take on the caped crusader shape both the future of big-budget moviemaking and Nolan’s own style?

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Later this month, audiences around the world (including—though this is less certain—some in the United States) will finally lay eyes on what once looked like the movie event of the summer, Tenet. In honor of the belated release of this time-bending thriller, we’re spending the rest of August talking about the filmography of its celebrated director, Christopher Nolan, who’s become possibly the premier blockbuster craftsman of the new millennium. Today, to kick off our four-part series, critics A.A. Dowd and Katie Rife are returning to Nolan’s pre-Hollywood work: his scrappy directorial debut, Following, and his big breakthrough, Memento. How well do these nonlinear indie noirs hold up two decades later? Let’s discuss.

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The year is about halfway over, and though no new movies have hit theaters in months, plenty of very good ones have made their way to streaming platforms, video-on-demand, and virtual cinemas since everything shut down in March. Which got us thinking: If next year’s Oscars honored only the current crop of 2020 releases, which ones would be most worthy of consideration? On the first new episode of Film Club since June, critics A.A. Dowd and Katie Rife offer their picks for the best movies, performances, and scripts of the year so far, in what we’re calling The Midyear Awards. Don’t worry: Our “ceremony” is much shorter than the real one. And there are no montages.

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It’s almost July, and if release calendars can be believed (they probably can’t), we might see a few movies creep into theaters again. (Christopher Nolan’s Tenet and the live-action Mulan remake are both currently scheduled to debut in multiplexes by the end of next month.) Whether that actually happens remains to be seen, of course. For now, we’re still stuck watching movies at home—and plenty of new ones arrived over this last month. On the last new episode of Film Club for three weeks, A.A. Dowd and Katie Rife look back on two of June’s more high-profile digital releases: the Pete Davidson-Judd Apatow comedy The King Of Staten Island and the Gothic psychodrama Shirley, starring Elisabeth Moss as horror author Shirley Jackson. Plus, both critics offer their recommendations of the best news films currently streaming.

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A few weeks ago on Film Club, our critics reminisced about movie theaters, many of which are still closed because of the pandemic. But the multiplex will reopen eventually. What, by contrast, will become of the video store, which was endangered long before COVID-19? On today’s episode, A.A. Dowd and Katie Rife are joined by fellow A.V. Club contributor and former Film Club cohost Ignatiy Vishnevetsky to discuss the past and potential future of brick-and-mortar movie renting, along with their own fond memories of frequenting and working behind the counter of video stores.

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There’s a new Spike Lee joint available today on Netflix. Da 5 Bloods, about a group of Black veterans returning to Vietnam decades later in search of both their fallen brother-in-arms and some gold they buried during the war, has earned Lee mostly glowing reviews (though not from our own reviewer, Ashley Ray-Harris). In honor of the film’s release, our critics sat down with Robert Daniels, who runs the website 812FilmReviews and has written for RogerEbert.com and The Playlist, to talk about Lee’s prolific career as a filmmaker over the last three-and-a-half decades.

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Welcome to this week’s second installment of Film Club, The A.V. Club’s weekly movie-discussion series. On this very special, format-breaking episode, our critics encroach on TV editor Danette Chavez’s turf to discuss the strange world of The X-Files. Since its premiere almost three decades ago, Chris Carter’s sci-fi drama grew from beloved cult favorite, to pop culture juggernaut, garnering prestige and acclaim along the way. By total coincidence, A.A. Dowd and Katie Rife both found themselves revisiting the series while quarantining, and decided to record this bonus episode of Film Club. In it, they discuss their shared love for the series, its influences and legacy, and whether or not it still holds up. 

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Welcome to a brand new episode of Film Club, The A.V. Club’s weekly movie-discussion series. The culmination of a remarkable rise from an independent production helmed by a self-taught filmmaker to the Toronto International Film Festival, Andrew Patterson’s buzzy indie-sci fi movie The Vast Of Night makes its debut on Amazon Prime today. It’s an inspiring story, but is it also a great film? Our critics A.A. Dowd and Katie Rife weigh in.

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We’re rolling into a long weekend, and with multiplexes around the country still closed, movie lovers will have to get their fix at home. Among the more high-profile options available to rent or stream are two films once headed for theaters: the hijinks-heavy, crime-themed romantic comedy The Lovebirds, starring Issa Rae and Kumail Nanjiani; and Capone, Josh Trank’s look at the ignoble final days of the fearsome Chicago gangster, played here by Tom Hardy. Are either worth your time and/or money? On this new episode of Film Club, critics A.A. Dowd and Katie Rife debate the merits of these very different movies, both vying for your Memorial Day attention.

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