Blumberg discusses developing the film’s main musical themes, his collaborators, and more.
There are multiple ideological and formal clashes at the heart of Maura Delpero’s film.
The India on display in Santosh is fascinatingly shot through with contradictions.
Kapadia’s film is a clunky fusion of sci-fi fiction and political documentary.
At its best, the film carries itself forward with the dignity worthy of a king.
The game finds Indy returning to terrain well trod by Lara Croft and Nathan Drake.
Horror continues to evolve in ways that confound and as such prove the genre’s durability.
For all their looking back, our favorite films of the year don’t engage in thoughtless nostalgia for an earlier time.
The film is as fiercely economical as Jaume Collet-Serra’s best work.
Ross discusses how he and his collaborators pushed forward the idea of point of view.
The film fails to take advantage of the most basic fertile ground of its concept.
As it sprints through the most notable moments of Dylan’s life, the film lapses into incoherence.
There’s a lot of Miyazaki Hayao’s Nausicaa in the film’s visual language.
The documentary is invigorated by Herzog’s persistently quixotic line of questioning.
Gia Coppola has crafted a film that feels fleeting and illusory by design.
The film presents a way of life where the only friction is between “man” and “nature.”
Eggers’s cinema has an aesthetic ravenousness about it that’s both stylish and sequestered.