Film

Terry Gilliam's new film, The Imaginarium of Doctor Parnassus, is another entry into his long line of dream-like films. But it's also the final performance of the late Heath Ledger. Gilliam joins host Terry Gross to talk about the personal and professional challenges of creative filmmaking.

James Cameron's trademark blend of grandiosity, jaw-dropping technology and cornball populism is back — and mightier than ever — in Avatar, a vertigo-inducing sci-fi epic that's as predictable and tin-eared as it is savvy and technically adept.

Critic John Powers has a theory: The best movies to give are seldom the recent hits. Instead, a good gift DVD should transport you into a different world that you can immerse yourself in over and over. Check out his favorites for this holiday season.

Tom Ford has put his creative sensibilities to work in the service of a Christopher Isherwood tale: A Single Man, which marks Ford's big-screen directorial debut.

German tenor Max Lorenz had a voice that could move millions — though Lorenz will be most remembered as Hitler's (and Wagner's) favorite. A new documentary about The Life and Times of Max Lorenz, chronicles the conflict and triumph of his unlikely voice and paints an intimate portrait, according to critic Lloyd Schwartz.

Critic David Edelstein says the Lord of the Rings director has violated Alice Sebold's celebrated novel with an adaptation marked by tawdry sentimentality and cheap mysticism.

Invictus director Clint Eastwood and star Morgan Freeman — who was Nelson Mandela's pick to portray him — talk about telling the story of one pivotal public gesture the former South African president made shortly after his election, hoping to make a big statement that would help ease decades of racial bitterness and injustice in his nation.

Tobey Maguire and Jake Gyllenhaal are Sam and Tommy Cahill, one an upright Army captain on his way back to Afghanistan, the other a delinquent, newly paroled after a three-year sentence for robbery. But the real center of Jim Sheridan's movie isn't the brothers, but their whole teetering clan, which will collapse and rebuild itself in complicated new ways.

The Oscar-nominated 1979 film My Brilliant Career stars Judy Davis, as a young woman growing up in rural Australia at the end of the 19th century. Film critic John Powers gives Davis credit for creating the template for the Australian screen actress: bravery, incandescence, and occasional cussedness.

Director Jason Reitman likes to fill his movies with tricky characters, and then put them in situations that test their convictions. His latest project, Up in the Air, is no exception: George Clooney's character has made a career of firing people.

After a lifetime of acting, the 84-year-old Hal Holbrook is still racking up new accomplishments. Last year, he received his first Oscar nomination for best supporting actor for his performance in Into The Wild. This year, he stars in a new film, That Evening Sun.

In an apocalyptic-movie age, The Road is the doomiest. A close translation of Cormac McCarthy's novel, the film tracks a father and son as they fight to survive in an ash-gray world haunted by death and global destruction. Critic David Edelstein says that its depiction of unbearable extremity, John Hillcoat's film achieves a kind of sublimity.

Martin Scorcese said of Sam Fuller's work, "If you don't like the films of Sam Fuller, then you just don't like cinema." The maverick screenwriter and director died in 1997, but a new 7-disc selection of his work embodies what's most enjoyable and enduring about pulp fiction.

Director Wes Anderson has worked on a lot of film projects, but with his latest film, Fantastic Mr. Fox, he ventured into new territory: animation. Anderson says that making a stop-motion picture is the most involved filmmaking he's ever done, but he also says that the process has "a sort of magic."

Stephenie Meyers' four-novel Twilight saga set off a rage for lovelorn teen vampires —-one that only escalated after the release of the first hit movie. The second film, New Moon, set box-office records for advance sales, but critic David Edelstein says it's too turgid for the excitement to last.

When Sacha Baron Cohen grants an interview, it's usually in character -- as Borat, the clueless faux-Kazakh journalist; or as Bruno, the outrageously shallow, ostentatiously gay Austrian fashionista at the center of Cohen's most recent film. Today, though, Cohen joins Fresh Air as himself, for a conversation with Terry Gross and Bruno director Larry Charles.

This month Woody Harrelson stars plays Capt. Tony Stone in a new movie about the costs of war. His character notifies the families of fallen soldiers. Harrelson's performance is already generating Oscar chatter.

Director Wes Anderson's first animated film is based on Roald Dahl's cheerfully wicked children's book about a wily fox who wages war on three farmers. Critic David Edelstein says the film -- with its stop-motion animation, big-name voice talent and quirky mannerisms -- achieves a degree of realism that isn't always apparent in the cult director's work.

This month Woody Harrelson stars in a powerful new movie about the costs of war. He plays Capt. Tony Stone, a veteran of the Army's Casualty Notification service, charged with the task of notifying the families of fallen soldiers. The film opens Nov. 13, but Harrelson's performance is already generating Oscar chatter.

David Edelstein reviews the quirky new comedy from Jared Hess, who co-wrote and directed Napoleon Dynamite.