The film is a tough character drama with a mournfully humanist center.
The film points us back to our distorted selves and the hollow world we’ve built.
The film functions as a meditation on McCarthy’s own perspective as a storyteller.
The film is an invitation for the pop-loving faithful to commune with the dark and divine.
Lowery discusses the creative uncertainty that led him to write Mother Mary.
Borgli’s relationship comedy is mercilessly uncomfortable and impudently funny.
Like a particularly impressive aspic, the film is tantalizing to behold but not so easy to swallow.
The Bone Temple doesn’t pack the moment-to-moment kineticism of the prior films.
William Golding’s influence is felt in the film’s exploration of teenage social hierarchy.
This adaptation of Isabel Greenberg’s graphic novel is as insubstantial as candy floss.
The filmmaker discusses his influences and inventing weird ways to kill people.
James Vanderbilt’s film is in direct conversation with the moment in which it was made.
Chris Stuckmann’s feature directorial debut arrives packing some major clout.
Bronstein discusses her approach to telling stories drawn from her own pain and anxiety.
The film unearths new depths of existential anxiety engendered by our tumultuous times.
Much of Road to Revenge plays like a spectacularly gory silent film.
The film collapses dreams, reality, past, and present into a singular cinematic haunted space.
It’s telling that Primate is high-strung in its eagerness to get down to the carnage.
The actors discuss the film’s richly fragmentary style, its frank sex scenes, and more.
The story’s boilerplate setup gets a noticeable lift thanks to Darren Aronofsky’s style and focus.