Addiction here springs from self-absorption, which is the common denominator of all evil.
Ninety-plus years have done little to dilute the swaggering power of Hawks’s film.
Most movies look positively robotic and undernourished next to Seven Samurai.
Controversial issues imbue the gothic hugger-mugger of these films with intimacy and intensity.
The huge party at the film’s center is among the great parties of recent American cinema.
Happiness is a caustic, beautiful, funny, tiresome, and brilliant Molotov cocktail.
The variableness of this movie is the risk of a working method as rapid and intuitive as Hong’s.
Hong’s film understands that the reassuring bond of community that can also be a trap.
In Cloud, Kurosawa literalizes the online rage machine with physical violence.
The film is a loving yet obsessive parody of the stereotypes that stand between generations.
Prime Cut is a grimly off-kilter crime film that examines the line separating man and beast.
Demons is a monument to the horror genre’s potential for Grand Guignol beauty.
Is the film a satire of consumerism or an example of it? It’s both and the better for it.
The film’s aesthetic walks a tight rope between the rarefied and the everyday.
Wenders’s autumnal, Ozuian drama receives a gorgeous UHD release from Criterion.
It’s impossible to deny that Fargeat’s film holds you even at its most frenzied.
Criterion somehow improves upon what already felt like a definitive presentation of the film.
The self-loathing here is front and center, and Schrader looks it straight in the eye.
Narc is one of the gnarliest and most powerful crime films of early-aughts American cinema.
The greatest concert film of all time looks and sounds better than ever on A24’s release.