There was plenty of merit to the connections being made at Los Cabos between filmmakers and audiences.
André Aciman’s novel is a series of ghost stories interrupted by fleeting flashes of light.
The book is Carmen Machado’s deeply intelligent and fiercely innovative account of her experience of domestic abuse.
The snapshots of the painstaking task of translation are filtered through the delicate framing of its subjects and the worlds they inhabit.
The story has enough pathos to fulfill the expectations of a great tragedy, but the film feels like a commercial for something else entirely.
Here, Robert Mapplethrope is just another tormented queer destroyed by his tendencies toward vice.
By the end, the lesson we've learned is that the stories we tell ourselves about the past have always been revised from a previous draft.
Rami Malek’s charitable act of resuscitation for the benefit of Mercury’s admirers is something that the film as a whole ultimately fails to accomplish.
The film is a leaden adaptation of Sarah Waters’s quiet yet distressing novel about an aristocratic family’s downfall.
The festival program successfully raises universal questions that transcend the context in which they’re asked.
Paramount’s fine-tuned Blu-ray should be an essential addition to the libraries of horror fans and audiophiles alike.
The film turns the act of survival into a powerful statement of defiance against the vagaries of the unknown.
Greg Berlanti’s film is a charmingly heartfelt portrait of a teenage boy about to leave the closet behind.
Women deserve a better vehicle for demonstrating the power of female solidarity than this empty money grab.
The series is committed to exploring the spaces between what we want to be true and what’s actually true.
Bill Condon’s remake actually delivers a remarkably optimistic balm to a festering, existential wound.
Stacy Title’s The Bye Bye Man ends up succeeding most deftly as an advertisement for on-campus housing.
It abandons its subtlety en route to becoming a moralistic screed about the preservation of the nuclear family.
The juxtaposition of courtship and violence is Pride and Prejudice and Zombies’s one true coup, but it still mistakes weaponry for agency.
The season premiere functions familiarly as a laying of the groundwork for what’s to come, moving the plot pieces around to create sites for potential conflict.