What distinguishes the film from much of its ilk is Albert Shin’s ongoing taste for peculiar and unsettling details.
The film’s avoidance of cruel Gold Rush realities is more than made up for by its spirited kineticism.
Robertson’s sadness was more fulsomely evoked by Martin Scorsese in The Last Waltz.
It suggests that a war’s horrors were the ultimate unassimilable experience of the shadowy depths of the human mind.
It’s within the murky realm of self-doubt and spiritual anxiety that it’s at its most audacious and compelling.
The film is at its best when it’s focused on the euphoria and tribulations of its central couple's love affair.
Today, A24 dropped the trailer for haunting mustache enthusiast David Lowery's latest.
Tukel’s film doesn’t live up to the promise of its fleet-footed opening.
Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.
Anderson’s latest is described as a “love letter to journalists.”
Throughout, any and all subtext is buried under the weight of Jim Carrey’s mugging.
The filmmaker discusses her elliptical approach to filmmaking and how she compels our active spectatorship.
Consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives.
The filmmakers allow their characters to learn the usual humanist lessons, in the process eliding the ramifications of their scenario.
Parasite earned four awards, edging out 1917 for best picture.
For Patricio Guzmán, to gaze at the Cordillera is to comprehend the range of history and the possibility of its distortion.
At its best, the documentary gives its subject the space to lay out his deeply populist vision of fashion.
A lot can change on a campaign trail in a matter of weeks, days even.