This relentlessly cruel rejiggering makes every Evil Dead film before seem like Sunday school.
The story’s boilerplate setup gets a noticeable lift thanks to Darren Aronofsky’s style and focus.
The War of the Roses is a brutal comedy of terrors, and The Roses is cuddly by comparison.
For better and worse, Love, Brooklyn makes little room for cynicism.
Pulled awkwardly in so many directions, this Toxic Avenger all but comes apart at the seams.
The film self-consciously disrupts linearity through dreamlike repetition and displacement.
The film patiently illustrates how places imprint themselves upon us and guide our actions.
Covino and Marvin discuss balancing visual and verbal humor, shooting on film, and more.
Jiaozi’s film is a sprawling, hyperkinetic exercise in mythological storytelling.
Howard discusses his approach to the story and the need that his characters seek to fulfill.
Splitsville proves that Covino’s The Climb was no fluke.
More often than not, the vibe is off across Honey Don’t!
Throughout, the film discordantly slides between farce, satire, and murder mystery.
Russell discusses how he updated The King of Comedy for today’s world of fans and stans.
Jude’s inability to commit fully to any political or cultural perspective proves frustrating.
Chuck Russell is certainly committed to making an old-school, effects-laden genre thrill ride.
Behind the violence and gore, Nobody 2 only offers the skeleton of a narrative.
The film’s tableaux are impressionistic in ways that recall Claude Monet’s plein air landscapes.
The film is a ghostly travelogue through a land ravaged by war and natural disaster.
The more the film diverges from Kurosawa’s, the more confident and distinguished it becomes.
The film is perhaps Joachim Trier’s most mature and emotionally complex work to date.