Guillermo del Toro reimagines an agonizing, still shocking noir as an exhibit in a wax museum.
Simon Rex discusses his disillusionment with Hollywood, his Red Rocket character’s similarities to him, and more.
Jonas Poher Rasmussen discusses the journey that Flee made from story to screen as it changed mediums, visual styles, and more.
As the film invites us to ponder the real-world circumstances that it implies, its self-seriousness becomes a double-edged sword.
This West Side Story, though, is at its best when it zooms in and settles down into character study.
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On the occasion of Benedetta’s release, we ranked the films of the Dutch auteur, satirist of American excess and fascist ideals.
The Maniac Cop sequels are fascinating for their competing sensibilities.
The film misplaces the root of our current existential dilemma, then covers it with tepid droll comedy and clunky melodrama.
Throughout Paolo Sorrentino’s film, the line between miracle and cosmic prank, even tragedy, is rendered indistinguishable.
Though often abstract in its imagery, the film’s blistering commentary remains firmly rooted in our present reality.
The Unforgivable is devoid of all textures and emotions that don’t readily affirm the film’s rigid worldview of redemption.
Death and its inevitability loom large over Román Viñoly Barreto’s The Beast Must Die and Fernando Ayala’s The Bitter Stems.
Johannes Roberts’s prequel ultimately remains buried by its indifference to unchecked corporate power.
Ridley Scott’s tale of greed and revenge practically begs for melodramatic excess.
Throughout The Humans, Stephen Karam orchestrates the highs and lows of a family reunion with Chekhovian subtlety.