A Grand Prix winner at Cannes, Payal Kapadia’s second feature, All We Imagine as Light, is constitutionally such a restrained, temperate, no-feelings-hurt movie...
The primary fuel in the tank of Hannah Peterson’s extremely modest, extremely earnest indie, The Graduates, is Mina Sundwall’s face, which in every scene looks ...
A contemporary film reviewer’s most brutal challenge: taking on an origin-story biopic about him — He Who Shall Not Be Named — four weeks before Election Day 20...
A bro-comedy director, a Method-y actor, and a pop star walk into a bar — and that’s as close to a joke as you’ll get with Joker: Folie à Deux, the inevitable s...
You could be forgiven for thinking initially that the new German film The Universal Theory, with its epic Alpine vastness, sweeping historical millieu, and head...
And so it comes to pass that the Sundance indie generation of filmmakers, now mostly in their reflective 50s, have sometimes taken to limning their own rosi...
Who knew Victor Erice was still around, ready for an octogenarian’s victory lap, with what is just his fourth feature film in over 60 years. Returning like the ...
The salacious folly that was Caligula (1979) has long been consigned to the back alleys of movie lore, forgotten like the memory of a head trauma. It’s also, lo...
Damian McCarthy’s Irish-junkshop genre riff Oddity comes pig-piling atop an already sky-high stack of low-mid-budget horror movies — which seems to be one out o...
Movies tend to maximalize everything — spectacle, exposition, emoting, violence — so you might be startled by the lick-the-battery charge of a film like Lucy Ke...
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