The true-crime docs here expose the rot at the core of many of our venerated institutions.
The decade that began with the commercial single seemingly gasping its last dying breath ended with it being the dominating format.
Grace Jones and David Bowie are obvious influences, but it’s impossible—impossible!—to discuss Lady Gaga and not talk about Madonna.
No one needs to tell you the sea change in the realm of music videos and how we all consume them in the 21st century.
With his combination of fearless physicality and intense intellect, Michael Fassbender is poised to become the next Daniel Day-Lewis.
In David Cronenberg’s Crash we are given a collection of characters with often overlapping but not always similar sexual fetishes.
Successful or not, there’s something about the rebbot that I gravitate toward.
Earlier this year in Toronto, we chatted about charlatans and artists, Monty Python and Faustian deals, and, finally, Heath Ledger.
It’s hard to pinpoint the exact source, but the music landscape of 2009 is perhaps best characterized by its slipperiness.
The year delivered a cinematic bounty for those intrepid enough to venture outside their staid megaplex comfort zones.
Teems discusses the intricacies of That Evening Sun’s characters and the difficulties of raising money for a small, character-driven film.
So what did frighten me as a kid?
Trouble Every Day is quite possibly Claire Denis’s most challenging and unsettling film, both utterly typical of her approach and yet also a true outlier in her career.
Robert Kenner discusses how he hopes his film will make you think twice before taking another bite out of that hamburger.
Stone discusses why it was so necessary to go “off the grid” to make Severed Ways.
Is WALL-E better than you expected, a notable Pixar achievement, or is it just more of the same?
Scherfig reflects on the film industry in Denmark, her love of Peter Sarsgaard, and more.
Watching Loren Cass is a little bit like getting punched in the face.
That no one left during the deluge spoke volumes about Lambert’s command of the audience.
After Jean-Pierre Jeunet’s wantonly prettified toy cities, Trash Humpers’s pageant of belligerent grubbiness is almost welcome.
It once again brings something like the best—or at least most talked about—Cannes offerings across the pond for their American premiere.