This relentlessly cruel rejiggering makes every Evil Dead film before seem like Sunday school.
The documentary is specific and urgent in both its purpose and execution.
The mundane and transcendent dance hand in hand in this French animated feature.
An air of predictability settles over Josh Boone’s dramedy in its very first scene.
Zhao’s take on Shakespeare’s family life telegraphs its themes loudly and incessantly.
The film is sensitively attuned to how people’s feelings are shaped by cultural norms.
Chris Stuckmann’s feature directorial debut arrives packing some major clout.
The film is Ramsay’s most sprawling and sensational canvas to date.
O’Connor discusses how he came to understand America by immersing himself in an era.
Reichardt discusses the political climate of an era, collaborating with Josh O’Connor, and more.
The Choral sets out to mix comedy with tragedy, but it’s an unsuccessful brew.
Panahi discusses the meaning of “accident” and how nothing can stop him from making movies.
The film surveys an era’s unprecedented upheavals with an ambivalent eye.
Köln 75 becomes far more compelling after Jarrett finally makes his entrance.
Check out our ranking of all the Palme d’Or winners since 2001.
The relative restraint of La Grazia makes its baroque flourishes stand out all the more.
Cooper’s third feature is playfully fascinated with the art and psychology of performance.
Jarmusch’s latest is haunted by mortality and the inevitable passage of time.
The Woman in Cabin 10 doesn’t waste time but also jumps to its climax too rapidly.
Like the best detective tales, the film doesn’t just dazzle us with a clever answer at the end.
Byrne discusses where she sees similarities between performing comedy and horror.