This neurotic psychodrama in monster-movie clothing is accorded a deservedly top-notch A/V presentation.
The difference between the film and its equally expensive contemporaries is Luc Besson’s playful, childlike naïveté.
Sofia Coppola serves up a cautionary revenge tale told from multiple perspectives, and thus none at all.
The tension between verisimilitude and economy of storytelling dictates everything in All Eyez on Me.
Like everything else Coppola-branded, Eleanor’s film is a family affair.
Hill ciscusses his new film and what he thinks about being called an “action director.”
Audiences who step into Colossal unaware of where Nacho Vigalondo is taking them will be nothing if not surprised.
Clowes talks, among other things, the treacherous straits of adapting from page to screen.
The epitome of grace, Kore-eda discusses the lightness of touch that’s become his signature.
Mister Universo is designed, shot, and edited like a feature but, in fact, made from the stuff of nonfiction.
The director and actress discuss schadenfreude, the elusive laffs-to-pathos ratio, and more.
Tsukamoto said that the driving influence of his breakout ’90s genre work was the concrete labyrinth of Tokyo.
Tarr talks jury duty at this year’s Marrakech film festival, his film.factory, Donald Trump, and more.
Mike Mills’s 20th Century Women incurs sorrow at the prospect of saying goodbye to its characters.
The film buzzes with hand-drawn creativity that’s precious in both the pop-cultural and material senses.
As with Selma, filmmaker Ava DuVernay has fashioned a work of pummeling and clear-eyed intelligence.
This is a patchwork dystopia of white poverty whose facets are difficult both to deny and to prove exist as depicted.
Audiences who step into Colossal unaware of where Nacho Vigalondo is taking them will be nothing if not surprised.
The film is a grab bag of visual punchlines and topical references capped with interchangeable music tracks.
Winocour discusses the sensory-based aesthetics of her new film.