The film is eventually caught up in the very pomp and splendor that it initially lampoons.
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.
The Ministry of Ungentlemanly Warfare Review: Guy Ritchie’s Cheeky, If Undercooked, WWII Yarn
Ritchie’s action-comedy never quite settles on what type of film it wants to be.
Minhal Baig’s film delicately captures both the wonder and tunnel vision of adolescence.
Matsunaga Daishi’s Egoist is a love duet full of intimate gestures.
In the end, the film reduces Winehouse’s life to little more than a sexist trope.
Mothers’ Instinct Review: A Hitchcockian Thriller That Wants for a Double Dose of Camp
The film awkwardly pitches itself between a somber drama and antic melodrama.