The film doesn’t trust us to recognize the legitimacy of the other’s being without filtering it solely through the lens of the ruling class.
Throughout Benedetta, Paul Verhoeven builds up a heady, campy mix of religious imagery, corporeal abjectness, and masochism.
Joanna Hogg’s film is a work of understated warmth, profound emotional complexity, and eminently British dry humor.
Todd Haynes excitingly captures an era’s explosion of creativity, one that bespoke new and challenging kinds of freedom.
Writer-director Samuel Theis’s film is a noteworthy repurposing of the coming-of-age social drama.
With Ahed’s Knee, Nadav Lapid plays a game with alter egos that’s at once canny and frustrating.
François Ozon’s film is a classically humanist illustration of a percolating controversy.
The musical format proves a natural fit for Leos Carax’s love of the visual fantasies created by the cinema’s most basic means of illusion.
Often funny and always wicked, the series spends its time patiently rending apart the images its characters have of each other.
Throughout, there are moments when you may feel as if Drew Xantholoulos could push harder on the film’s philosophical implications.
The film is a j’accuse aimed at those complicit in oppressing the most vulnerable in order to protect the powerful.
It’s difficult to imagine a high-concept thriller that coalesces around its one-line conceit less convincingly than Awake.
The film brings us somewhere where we aren’t, and probably could not be, but nevertheless feels tangibly real.
Cruella’s outward liveliness can’t mask the inner inertia it has as just another lifeless product assembled in a factory.
The Woman in the Window never manages to transcend the impression that it’s merely being clever.
The film misses the opportunity for a suspenseful interweaving of sports spectatorship and its characters’ high-stakes gambits.
The A/V presentation is so good that fans of the film will be able to use it to calibrate their home-video systems.
This powder keg of a film gets an uneven A/V presentation but a confident and enlightening commentary track from Fennell.
The film could be taken as an intentional travesty of the superhero genre, if only it weren’t so tortuously tedious.
In the film, Manaus is a place of irreconcilable tension between the lush natural world and the cold, metallic world of industrial modernity.