There’s an enigmatic quality to the role of Nolan in the current filmmaking landscape.
This relentlessly cruel rejiggering makes every Evil Dead film before seem like Sunday school.
Poignantly, McElwee wrestles with the perils of personal documentary filmmaking.
Barrio Triste relies on a mood of disaffected melancholy, if without a clear direction.
Bernstein’s gifts as a storyteller are less narrative than atmospheric.
There’s a warmth to the film that cuts through its disillusion with the industry that created it.
McElwee discusses, among other things, his new film and staring down the loss of his son.
The film understands that historical truth and personal memory are inseparable.
The film uses the Minions to smuggle in a message about the enduring power of cinema.
These films are generous reminders that cinema isn’t always about diagnosing global problems.
The wallow in nostalgia and sentimentality isn’t a sign that the boys have grown soft.
Throughout, Supergirl draws from at least 10 different long-tapped cinematic wells.
The film’s slice-of-life scenes are generationally accurate representations of everyday life.
The film proceeds for a spell as a study of the surfaces of glamour, and an alluring one at that.
The Aussie director discusses why horror was the right vessel for his commentary.
On the occasion of Toy Story 5’s release, here’s our ranking of every Pixar feature to date.
The aesthetic whimsy that’s made the Toy Story movies so popular is all but absent here.