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Timothée Chalamet’s turn as Bob Dylan in A Complete Unknown earned praise from critics, including Rolling Stone’s David Fear, but like any biopic, some details and facts get left out or rearranged. The notoriously mercurial Dylan, who had input in the James Mangold biopic, even slipped a made-up scene into the movie.

The movie is based on the 2015 book Dylan Goes Electric!, which documents Dylan’s pivotal 1965 performance at the Newport Folk Festival. His plugged-in performance of “Like A Rolling Stone” was controversial among festival attendees, who expected an acoustic set.

One of the most anticipated new films of this Christmas season has been A Complete Unknown, the folk music film that features Timothée Chalamet as Bob Dylan. The film culminates with his infamous performance at the Newport Folk Festival in 1965, which is exactly the year that Dylan began participating in what would become Don't Look Back. The D.A. Pennebaker film differentiates itself from other Dylan documentaries and concert films. It's a perfect "portrait of the artist as a young man," and while it captures some incredible music, it's more about Dylan's persona and PR.

Don't Look Back is now streaming for free on The Criterion Channel. The film is also a part of The Criterion Collection, featuring a glorious 4K remaster of the film with hours upon hours of special features. They describe Don't Look Back in this way:

"Bob Dylan is captured on-screen as he never would be again...

In a revealing anecdote after the first screening of his latest biopic A Complete Unknown, James Mangold relayed the question posed to him by Bob Dylan: “So what is this movie about?” It’s a fair inquiry, especially for a legendary figure whose profound resonance has been felt in cinema just as it has in music. In documentary form, his presence has been the focus of D.A. Pennebaker’s seminal direct-cinema film Dont Look Back, no fewer than two Martin Scorsese documentaries (No Direction Home and Rolling Thunder Revue), and his own Eat the Document. His fictional representations are also considerable: the highlight is likely Todd Haynes’s I’m Not There––which forms a definitive statement precisely because its mélange of faces and styles refuses to settle on one interpretation of the musician––though Dylan also put forth offbeat and personal efforts like Renaldo and Clara and Masked & Anonymous.

In February 1964, as America was still reeling from the assassination of President John F. Kennedy, The Beatles arrived in the U.S. for the first time and took the country by storm. Their debut appearance on “The Ed Sullivan Show” drew more than 73 million viewers, and they created a media frenzy everywhere they went, a situation playfully recreated in Richard Lester‘s classic musical comedy “A Hard Day’s Night,” which went into production right after The Beatles returned to England after their two week trip.

Before Lester’s film, however, legendary documentarians Albert and David Maysles — then at the beginning of their careers — documented the Beatles’ U.S. sojourn in footage that has barely been seen since it was shot due to a variety of clearance issues (not to mention the fact that United Artists didn’t really want the material in general release where it could dilute the appeal...

If one had to describe Sharon Stone's working relationship with director Sam Raimi by a movie title, it would, ironically, be The Quick And The Dead. Stone hired Raimi onto Quick And The Dead after seeing Army Of Darkness, vouching so emphatically for the cult director that she later...

Warning: Spoilers ahead for Beatles '64.

The soundtrack of the Disney+ documentary Beatles '64 features many original songs and covers by The Beatles and classic rock songs performed by their American idols. Directed by David Tedeschi, who edited classic music documentaries such as Rolling Thunder Revue (2019) and George Harrison: Living in the Material World (2011), Beatles '64 showcases the rise of The Beatles during their revolutionary visit to New York City in 1964 on the heels of the assassination of President John F. Kennedy. The documentary contains rare footage that captures Paul McCartney, John Lennon, George Harrison, and Ringo Starr's legendary impact on American music and culture.

While not everyone is a fan of The Beatles, the documentary captures some of their most devoted supporters throughout the decades who remember how the arrival of the British phenomenon in the United States changed their lives forever. Despite the fringe conspiracy theory that Paul faked his own death,...

It’s one last waltz for Robbie and Marty.

Variety reports that Martin Scorsese is directing the filming of a tribute concert dedicated to his late friend and collaborator Robbie Robertson for a concert film. The Blackbird Presents (Outlaw Music Festival)-produced concert, called “Life Is a Carnival: A Musical Celebration of Robbie Robertson,” will take place Thursday at the Kia Forum in Los Angeles. Plans for the release of the future film have not been set.

Robertson, the legendary musician and songwriter best known for his work with the legendary roots rock outfit The Band, died in 2023 at age 80. His relationship with Scorsese went back to the 1970s, when Scorsese directed “The Last Waltz,” the 1978 star-studded concert film commemorating The Band’s final performance. Robertson then worked as a composer, music supervisor, or consultant on many of Scorsese’s films, including “Raging Bull,” “The Color of Money,” “Casino,” and “The Irishman.

Joni Mitchell remembers the moment she played her new album, Hejira, for a certain country star back in 1976. “Bonnie Raitt brought Dolly Parton to town,” she tells Cameron Crowe in the liner notes for her new Archives, Vol. 4: The Asylum Years (1976-1980). “And we played back the album, and she listened. And when it was over, she turned to me and said, ‘If I thought that deep, I’d scare myself to death.’”

Parton’s reaction is an apt description for Archives Vol. 4, a collection that gives listeners a...

After bagging 10 Oscar nominations for last year's monumental three-plus-hour epic Killers Of The Flower Moon, you'd be forgiven for thinking that when Martin Scorsese wants to make a movie, that movie just gets made. But after revealing plans for religious picture The Life Of Jesus last year, and then the realisation of a long-planned Frank Sinatra biopic with Leonardo DiCaprio earlier this year, Marty's hopes to shoot both projects back-to-back have been put on hold. Per Variety's reporting, neither project will be setting cameras rolling in 2024 any more, and new production plans are yet to be confirmed.

Having already made one ripping biblical yarn in the shape of The Last Temptation Of Christ, Scorsese had hoped to acquiesce to the Pope's call for more Christianity centred art with an adaptation of Shūsaku Endō’s 1973 novel The Life Of Jesus. This would've been Scorsese's second Endō adaptation following 2016's Silence, with...

Joni Mitchell has announced Joni Mitchell Archives, Vol. 4: The Asylum Years (1976-1980), the latest installment of her archival release series. Today, along with the announcement, she released the single, a live cut of “Coyote.”

Arriving on October 4th via Rhino Records, The Asylum Years (1976-1980) will span an era of Mitchell’s career in which she experimented with jazz-folk fusion, releasing 1976’s Hejira, 1977’s Don Juan’s Reckless Daughter, her 1979 collaboration with Charles Mingus (titled Minugs), her 1980 live album Shadows and Light, and more. The collection will feature unreleased studio sessions, alternate versions, numerous live recordings, and more.

Get Joni Mitchell Tickets Here

The Asylum Years (1976-1980) will be available on 6xCD and 4xLP formats, and will arrive with a 36-page book featuring photographs and an “extensive conversation” between Mitchell and Cameron Crowe, in which she shares “intimate anecdotes, memories, and stories” from the five-year period. Check out the...

This post contains spoilers for "Longlegs."

So, you finally dared to watch the most terrifying horror movie of the year, "Longlegs." Despite the fact the film wraps up its central mystery quite neatly by the end, you likely have some questions about director Osgood Perkins' nightmarish supernatural serial killer tale. Who exactly was Longlegs before he was co-opted by the devil? Why is he called Longlegs? Was the devil just behind everything the whole time?

These questions and more will be answered here, as we delve into the nitty gritty of this certified horror hit. "Longlegs" quickly became horror's biggest box office surprise of the year, making an incredible $22 million in its opening weekend (its highest projection prior to that was $15 million), and dropping just 48% in its second weekend. That might not seem all that impressive, but this is a huge debut for a horror movie, no doubt propelled by...

Bob Dylan has spent the past two weeks crisscrossing the country on the Outlaw Music Festival summer tour alongside Celisse, Robert Plant and Alison Krauss, and Lukas Nelson, who has been subbing in for his ailing father, Willie. Most Dylan fans have rightly been focused on his decision to jettison his Rough and Rowdy Ways set list of the past three years, bring in a series of 1950s covers songs he’s never done before, part ways with longtime pedal-steel player Donnie Herron, and reunite with gospel-era drummer Jim Keltner.

Divergent PR has announced that veteran publicist Ryan Langrehr, former U.S. Head of Awards at Dda, will join the independent outlet and that Christine Richardson has been promoted to Vice President.

Richardson, a veteran film publicist at Divergent, has successfully managed Oscar-winning campaigns for Jonathan Glazer’s “The Zone of Interest” and Darren Aronofsky’s “The Whale.” Her previous roles included working on documentary titles on Netflix, such as Yance Ford’s Oscar-nominated “Strong Island” and Martin Scorsese’s “Rolling Thunder Revue.” Before joining Divergent, she was the VP of National Publicity at Lionsgate, contributing to the campaign for Damien Chazelle’s best directing winner “La La Land.”

Langrehr is joining Divergent as director of publicity from Dda, where he was responsible for leading the U.S. awards team and managing the launches of films from both domestic and international film festivals. He has represented filmmakers globally and overseen...

About an hour into the brief and dazzling Bushman, the central character announces, “I need a hamburger,” and then the screen goes black for a few seconds. When the movie resumes, it’s no longer a drama enlivened by a streetwise documentary sensibility, but a work of straight-up nonfiction. Relying on stills in this last stretch but maintaining the visual fluency of the preceding story, the final 10 minutes recount why director David Schickele stopped filming for a year: He was working instead on securing a release from prison for his wrongfully imprisoned leading man.

There are strong parallels between Gabriel, the onscreen outsider, and Paul Eyam Nzie Okpokam, the man who plays him. Both grew up in a Nigerian village. Like Gabriel, Okpokam was a graduate student at San Francisco State College. Schickele’s screenplay was to have ended with Gabriel being deported after falling into trouble with the law.

If you turn “Cypher” off after 10 minutes, you’d probably walk away thinking it’s yet another music documentary about a rising star looking to buy some prestige with a slickly produced, feature-length streaming commercial. Chris Moukarbel’s profile of Grammy-nominated rapper Tierra Whack begins exactly how you’d expect it to, with a whirlwind of performance clips and talking heads expressing faux befuddlement about how a girl from Philly took the rap game by storm. Whack recalls reading her rudimentary spoken word poetry in middle school cafeterias and parlaying the local hype into a rap career that earned her the endorsements of A-listers like Meek Mill on her meteoric road to stardom. Like clockwork, it quickly transitions to more intimate behind-the-scenes footage of her chilling in the studio with collaborators as she takes stock of her overwhelming fame.

But you should not, under any circumstances, abandon “Cypher” after 10 minutes.

It’s Scorsese vs. Swift at the box office.

Martin Scorsese’s star-studded crime epic “Killers of the Flower Moon,” this weekend’s only new nationwide release, is targeting $20 million to $30 million from its debut in 3,621 North American theaters. But it’ll be no match for last weekend’s champion, Taylor Swift’s “The Eras Tour,” which looks to lead again with $30 million to $40 million in its sophomore outing.

Paramount Pictures is distributing the $200 million-budgeted “Killers of the Flower Moon,” which was backed by Apple and will eventually land on its streaming service at a later date. Box office experts are split on whether its projected mid-$20 million debut would be disappointing for such an expensive film or impressive for an adult-skewing drama that runs at nearly three and a half hours. It’s unclear what a streaming giant like Apple (which pays Paramount a distribution fee) constitutes as a success in the theatrical space.

Martin Scorsese, one of cinema's most celebrated living filmmakers, is returning with his first film in four years. Not only that, but he's reuniting with both of his most trusted collaborators as both Leonardo DiCaprio and Robert Deo Niro are starring in "Killers of the Flower Moon," an adaptation of David Grann's best-selling book of the same name. Even though Scorsese's very expensive passion project was produced for Apple TV+, the company has teamed with Paramount for a wide theatrical release next weekend. There are lots of appealing pieces on the board, but some big question marks as well. The biggest question of all: Can this be Scorsese's first bonafide box office hit in ten years?

The answer to that question is a little complicated as box office success is a bit more nuanced here than it might be for a film produced purely for a legacy studio...

“Inimitable storyteller” and “mythic storyteller” were a few of the superlatives sung of David Johansen, former New York Dolls frontman turned lounge act Buster Poindexter, at the Metrograph premiere of “Personality Crisis: One Night Only” in New York Tuesday.

But they could easily apply to the film’s co-director, Martin Scorsese, who made the cabaret concert documentary with David Tedeschi, the longtime editor on his past nonfiction music films like “George Harrison: Living in the Material World” and Bob Dylan’s “Rolling Thunder Revue.”

Curiously for an Oscar-winning filmmaker who has made eight music documentaries along with Fran Lebowitz portraits “Pretend It’s a City” and “Public Speaking” and other nonfiction efforts, Scorsese doesn’t exactly subscribe to the term documentary itself. Or differentiate it from his fiction features like “The Irishman” or the upcoming “Killers of the Flower Moon” at all.

“For me, what I’m trying to do is...

Sharon Stone has been in the headlines thanks to her surprise appearance on “Saturday Night Live”, appearing onstage in repose during one of musical guest Sam Smith’s performances, and then appearing alongside host Aubry Plaza in a sketch.

A few years back, Stone also made a surprise appearance in “Rolling Thunder Revue”, Martin Scorsese’s 2019 Netflix documentary about Bob Dylan’s legendary 1975 tour.

In the documentary, Stone reveals that she had an affair with Dylan when she was 19 and wound up joining him on the road during that tour — none of which is true, by the way.

Read More: Sharon Stone On Stunning Sam Smith ‘SNL’ Appearance: ‘We Understand Each Other At An Almost Intimate Level”

Stone’s faux admission, in fact, is one of several whoppers that Scorsese and Dylan mischievously inserted into the documentary, such as Dylan’s supposed feud with Stefan van Drop, the European filmmaker...

Bob Neuwirth, the folk singer-songwriter known for his long and influential association with Bob Dylan, has died at the age of 82. Neuwirth’s partner Paula Batson confirmed his death to Rolling Stone, adding he died Wednesday, May 18, in Santa Monica, CA.

“On Wednesday evening in Santa Monica, Bob Neuwirth’s big heart gave out,” Neuwirth’s family tells Rolling Stone in a statement. “Bob was an artist throughout every cell of his body and he loved to encourage others to make art themselves. He was a painter, songwriter, producer and...

“The Velvet Underground” is a rock ‘n’ roll documentary that doesn’t really follow the normal rules for rock-docs — but then, a film about the Velvets wouldn’t be satisfying if it was conventional, and following normal rules is definitely not an approach that would give Todd Haynes a reason to make his first documentary.

Haynes, the uncommonly sensitive and provocative director of “Carol,” “I’m Not There” and “Far From Heaven,” among others, isn’t here to give us a blow-by-blow account of the New York band that was adopted by Andy Warhol’s Factory scene. The Velvets proved to be far too extreme to enjoy mainstream success, but extreme enough to inspire acolytes who, as Brian Eno once famously pointed out, all formed their own bands.

But “The Velvet Underground,” which premiered on Wednesday in an out-of-competition slot at the Cannes Film Festival, doesn’t spend too much time...

The documentary film community gathered virtually on Facebook Tuesday night to chat and cheer each other on at the annual Cinema Eye Honors Awards. Oscar ballots are due Wednesday at 5pm Pt, and many documentary branch voters were on the livestream.

At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.

She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”

Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...

The documentary film community gathered virtually on Facebook Tuesday night to chat and cheer each other on at the annual Cinema Eye Honors Awards. Oscar ballots are due Wednesday at 5pm Pt, and many documentary branch voters were on the livestream.

At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.

She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”

Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...

Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese gives itself away in the title -- not that people watching idly on Netflix this week might notice. This ostensible documentary about Bob Dylan's ramshackle road show, the 1975-76 Rolling Thunder Revue, is actually a "story" more than a

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“Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese” finally has a release date. The documentary will premiere on Netflix on June 12 and will also receive a theatrical release beginning in Los Angeles and New York in order to qualify for awards. In addition, the streaming service has booked one-night-only “road show” screenings in 20 different cities on June 11.

Those cities are London, Paris, Washington, D.C., San Francisco, Boston, Philadelphia, Nashville, Austin, Dallas, Houston, Portland, Tulsa, Tempe, Chicago, Cleveland, Minneapolis, Bologna, Sydney, L.A., and New York.

Per its log line, the film “captures the troubled spirit of America in 1975 and the joyous music that Dylan performed during the fall of that year” and is “part documentary, part concert film, part fever dream.”

The film marks the second collaboration between Dylan and Scorsese, the first being 2005’s “No Direction Home.” Though best known for dramas like “Taxi Driver,” “Goodfellas,...