The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
Udo Kier discusses Swan Song, his work across his 50-year-plus career, and how he feels about being labeled a gay icon.
It’s thanks to a kind of tug of war between background and foreground that Beckett succeeds as a piece of entertainment.
At its best, Matt Yoka’s documentary vividly captures how personal demons shape creative output.
There’s so much discernible IP baked into Shawn Levy’s film to make its calls for artistic ingenuity feel hypocritical at best.
Lucy Walker’s absorbing study of California’s 2018 wildfires consistently goes in illuminating and surprising directions.
John and the Hole is most impressive when it proceeds as a series of confounding and uncanny situations.
Mariam Ghani’s documentary spurs audiences to consider the politics that underlies any artistic activity.
The film shrewdly details how a gay forefather’s legacy has paved the way for today’s queer kids to unabashedly embrace their queerness.
Throughout, James Gunn renders the half-grim, half-absurdist nature of the Suicide Squad with delightfully bloody abandon.
Rarely do the filmmakers show people mutually affecting one another in cycles of pain and control, rather than blaming phantom figures.
Juho Kuosmanen’s film interestingly thrives off of an ironic juxtaposition of character and environment.
The film is an obsessive rumination on the little squabbles and inconveniences and pleasures that add up to the bulk of our lives.
The Oscar-winning Tom McCarthy discusses how he makes visible the invisible work that makes the world of Stillwater believable.
David Lowery’s film exerts a haunting pull, but it’s only superficially more daring and enigmatic than its source material.
With Never Gonna Snow Again, Małgorzata Szumowska presents a charm against both apocalyptic despair and willful ignorance.
In spite of the film’s strikingly lived-in sense of place, the script’s melodramatic storytelling works against that verisimilitude.
Jaume Collet-Serra’s deft touches elevate what otherwise feels like another formulaic contemporary Disney blockbuster.
Writer-director Edson Oda never really puts a unique spin on the familiar story of otherworldly figures peering in on the lives of the living.
Stillwater gives itself over to drastic plot twists that derail what was already a film over-stuffed with narrative incident and ideas.
The film’s concession to the fungible nature of presented reality comes across not as indecisive but courageous.