This relentlessly cruel rejiggering makes every Evil Dead film before seem like Sunday school.
The horror here proves as much a dead end as the main characters’ relationship.
Gavagai examines how the prejudices we’ve supposedly left in the past still shape that world.
Johansson and Squibb discuss the process of endowing Eleanor with a sense of humanity.
The film unearths new depths of existential anxiety engendered by our tumultuous times.
This year’s slate provides a lucid window on a world in a state of turmoil and reinvention.
Much of Road to Revenge plays like a spectacularly gory silent film.
Romería could be seen as a sequel of sorts to Carla Simón’s autobiographical Summer 1993.
Chapter 2 plays for a while like a needlessly extended epilogue to the first film.
Mumenthaler’s attention to subjectivity invites comparison to Virginia Woolf’s work.
The film sees the narrow self-interest of a nation reflected in the man at its center.
The film collapses dreams, reality, past, and present into a singular cinematic haunted space.
It’s telling that Primate is high-strung in its eagerness to get down to the carnage.
This gene splice of road movie and coming-of-age story is as whimsical as it is disjointed.
Across Park’s film, “no other choice” becomes a kind of disingenuous mantra.
The film is a memorably wonky take on the spectacles we make of crime and punishment.
There comes a point where After the Hunt is defined by its convolutions.
The correlation of football to an arcane tradition is the only novel insight offered by Him.
Osit discusses To Catch a Predator, Chris Hansen’s thoughts on the documentary, and more.
The film cloyingly asks us to embrace the sincerity of its impersonal romance.
This “loose adaptation” of Thomas Pynchon’s Vineland turns overreaching into an art form.