Not the first feature film derived from distracting Internet nonsense, but maybe the best, Kane Parsons’s Backrooms might be difficult to fathom — as in, what t...
Probably the first question you’re compelled to ask is, of course, who’s Lee Cronin? You can smell the gall from here on this new Blumhouse franchise-kindling-s...
What with Russia’s gangsterish siege of Ukraine,the Trump administration’s shady acquiescence to it,and the concurrent worldwide slide toward neo-fascist amoral...
OK Gen-Zers, leggo yer multiverse this and multiverse that — it’s older than your great-granddad’s first pulp paperback, used as a term by William James as earl...
It’s nearly impossible to watch Jia Zhang-ke’s new film, Caught by the Tides — a fractured, circumstantial portrait of the Chinese quotidian in the 21st cen...
It’s a curious project to remake in the 2020s — Françoise Sagan’s slim scandal-smash 1954 novel, published when she was 18 and less than a decade after the end ...
A mood piece of otherworldly control and breath-holding severity, the new Georgian movie April is the kind of art film you wish for all year long, if you’ve ot...
One of world cinema’s most pungent brands, now in his seventh decade of filmmaking, David Cronenberg is beyond caring what we think of him, particularly if we d...
Metrograph’s new homeboy release Gazer, a freshman volley whose festival odyssey included the Directors’ Fortnight at Cannes, could quench any appetite you stil...
Nowadays, it seems as though every power on earth has become dedicated to eating cinema alive, or at least starving it of resources and eyeballs — the Internet ...
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