The film is eventually caught up in the very pomp and splendor that it initially lampoons.
Even when the film becomes something like a thriller, it never loses sight of its political themes.
In the end, Love Life feels like a pale imitation of one of Fukada’s more grandiose melodramas.
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Larry Fessenden’s film is a work of fascinatingly conflicted, far-reaching curiosity.
Meg 2 is well served by deliriously dialing up the camp factor.
The film goes to show that humanism and absurdism are often two expressions of the same face.
Whishaw discusses challenges of not playing subtext, acting everyday emotions, and more.
Travolta’s scenes are islands of tranquility in a jittery sea of rote crime-movie pyrotechnics.
The film knows who it wants to reach, and speaks directly to them without pandering to them.
The elegantly underplayed performances ensure that the film never succumbs to melodrama.
The film was made with the utmost commitment to authentic representations of rez life.
D. Smith discusses earning her subjects’ trust, the sterility of documentary tropes, and more.
The twin filmmakers discuss why they’re keen to engage with interpretations of Talk to Me.
There’s an engimatic quality to the role of Nolan in the current filmmaking landscape.
The film handily invokes the campiness of the iconic Disneyland attraction, if not its kinetics.
San Francisco Silent Film Festival 2023: One Last Silent Movie Party at the Castro Theatre?
The 26th San Francisco Silent Film Festival was another joyous gathering of silent cinema.
Sympathy for the Devil knows what its audience is here for.
From the outset, it’s clear that the film is something akin to a rural noir.
War Pony is characterized by a glaring, almost frustrating lack of nuance or specificity.