Hamaguchi discusses the evolution of his approach to dialogue and camera movement.
Whenever Ryan Gosling and Emily Blunt aren’t on screen together, the movie magic dissipates.
The film is eventually caught up in the very pomp and splendor that it initially lampoons.
Lost Soulz is a road-trip movie driven by good vibrations and the joy of making music.
Beyond its exquisitely granular precision, Kavtaradzė’s film is notable for its levity.
The O’Connor of Wildcat is a contentious outsider who seems ill at ease in her own skin.
Tension becomes Caitlin Cronenberg’s film. The release of it, not so much.
TCMFF continues to valiantly pursue the preservation of Hollywood film history.
Rebel Moon – Part Two: The Scargiver Review: Zack Snyder’s Ho-Hum Seven Samurai in Space
Snyder’s space epic plays more to his strengths, but it can’t rise above his weaknesses.
The contrast of stasis and flux, of the sublime and the quotidian, characterizes Liu’s latest.
The film is less interested in its human specimens and more in slotting in genre trappings.
As Terrestrial Verses proceeds, it captures a steady hum of societal discontent.
If you’re looking for flash and snark, Boy Kills World has them in spades.
San Francisco Silent Film Festival 2024: Finding Clara Bow, Swashbuckling Restorations, & More
For its 27th edition, the festival presented 20 features and six short films over five days.
The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
Matt Bettinelli-Olpin and Tyler Gillett’s horror comedy is sharp in more ways than one.
The film is held together by the intensity of its haunted-looking cast and the dour atmosphere.