By going to uneasy extremes in I Love You, Daddy, Louis C.K. aims to reorient our moral compasses.
Toronto International Film Festival 2017: Film Stars Don’t Die in Liverpool and Roman J. Israel, Esq.
A rare bad performance from Denzel Washington sinks writer-director Dan Gilroy’s follow-up to Nightcrawler.
The cinematic touchstone throughout Schrader’s First Reformed is the Danish director Carl Theodor Dreyer.
Payne’s defenders might call his often acidic touch Swiftian, though it comes off more toothlessly noncommittal.
Bloodlight and Bami is a fragmented, purposefully obscure exploration of Grace Jones’s life and art.
Suburbicon sees a bunch of candidly left-leaning movie stars doing their best to out-awful each other.
The film’s dialogue is entertainingly hard-boiled, and the performances knowing without ever being arch.
Justin Timberlake + The Tennesse Kids acknowledges that it takes a village to make a pop superstar.
Eric Rohmer’s revolutions were quiet ones, couched in a perpetual remove and observation.
Damien Chazelle movie-musical pastiche is eager to please those who might vote it into the AMPAS pantheon.
The film isn’t a mesmerizing dream so much as the enervating, and dispiriting, conception of one.
The film’s story threads are of a tonal piece, all about striking poses as opposed to exploring humanity.
A Quiet Passion, like all of Terence Davies’s films, doesn’t lack for density of theme, allusion, and effect.
Sunset Song is conventionally A-to-B, though it’s a strangely freeing framework within which Terence Davies achieves some gorgeously subtle effects.
Light in darkness and darkness in light; for every affirmative moment, Frederick Wiseman finds a complementary negative.
One of Hou’s constant themes (one that recurs in the work of many of the notable Taiwanese directors) is alienation, not just of a personal, but of a national sort.
There are many questions posed in life.
Today marks the start of Ryan Kelly and Adam Zanzie’s Spielberg blogathon.
The website, designed by Joshua Sanchez, offers further information on those included in the film.
If we accept that television, like a movie screen, is a filter on reality, then what Gianvito does is put a filter on a filter.