Daniel Ross Goodman
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FIlm

  • Leonardo DiCaprio, Meet St. Augustine
  • Stanley Kubrick: American Filmmaker
  • Quentin Tarantino's Cinema Speculation
  • William Hurt, 1950-2022
  • Ray Liotta, 1954-2022
  • Lincoln Plaza Cinemas
  • "The Wolf of Wall Street"
  • The Elegiac Beauty of Martin Scorsese’s "The Irishman” 
  • "Uncut Gems": Adam Sandler's seedy sports fan epic
  • "1917"
  • "The Turn of the Screw: 'Translated and Improved'?"
  • "Gretel and Hansel": A new take on an old tale
  • "The Call of the Wild" 
  • "Emma"
  • "The Invisible Life of Eurídice Gusmão"
  • "Bad Boys For Life"
  • "The Whistlers"
  • "Shirley"
  • "The King of Staten Island"
  • "Greyhound"
  • "Eurovision Song Contest: The Story of Fire Saga"
  • "Bill and Ted Face the Music"
  • "American Pickle"
  • "Console Wars"
  • "Minari"
  • "The Mitchells vs. the Machines"
  • "Stillwater"
  • "The Last Duel"
  • "The French Dispatch"
  • "Spencer"
  • "Don't Look Up"
  • "The Tender Bar"
  • "Nightmare Alley"
  • "Death on the Nile"
  • "The Tinder Swindler"
  • "After Yang"
  • "The Contractor"
  • "Memory"
  • "Jurassic World: Dominion"
  • Mike Hodges, 1932-2022
  • "Blue Jasmine"
  • "Gravity," "Magic in the Moonlight," and "Inside Llewyn Davis"
  • "Life Itself": Roger Ebert's life, work, and unquenchable cinephilia
  • "Museum Hours" 
  • "To The Wonder"
  • "The Vigil"
  • "Ex Machina," Artificial Intelligence, and the Ethical Dangers—or Benefits?—of New Technology
  • Roger Ebert: The Rashi of Cinema
  • Hollywood, the Oscars, and the missing modern Jew​
  • The Academy and the Award: The Coming of Age of Oscar and the Academy of Motion Picture Arts and Sciences
  • Driving to Nebraska: Cinema, Human Dignity, and the Elderly​
  • The Greatest Beauty: The Imaginary Journey of Paolo Sorrentino’s "The Great Beauty" ("La grande bellezza")
  • "Exodus: Gods & Kings": What Does God’s Voice Really Sound Like?
  • "Boyhood": A Profoundly Human Story
  • A Movie in the Mould of Murnau, "Metropolis," and "The Rules of the Game": Wes Anderson’s "Grand Budapest Hotel"
  • "The Big Short"
  • ​"La La Land": Movie of Dreams
  • "Rogue City"
  • Fear Not: ‘Our Man’ Robert Redford in J.C. Chandor’s "All Is Lost" 
  • "Blockers," "American Pie," and the Last Great Sexual Taboo
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  • Home
  • About
  • Articles
    • Literature
    • Art
    • Film
    • Religion and Jewish Studies
    • Theater, Television, Sports & Culture
    • Op-Eds and Letters to the Editor
  • Short Stories
  • Poetry
  • Books
    • Fiction
    • Nonfiction
  • Audio
  • Video
  • Media
  • Contact