Agnieszka Holland’s film is also a tribute to those who see the world for what it is.
Amos Nachoum has a vulnerability that he manages to locate in animals without diminishing their capacity for violence.
Convenient plot twists undermine its early pretense that it’s aiming for something other than to exploit our deepest, most regressive fears.
Shannon Murphy’s stylized melodrama captures a terminally ill teenager raging against the dying of the light.
The jazz trumpeter and composer discusses the evolving nature of his collaborations with Spike Lee.
Artists understand violence as a transmission of energy that’s repulsive yet hypnotic.
Lost in so much bombast is the kind of story about its main characters’ lives that could’ve affirmed Spike Lee’s critique of America.
Young discusses Josephine Decker’s unconventional processes and what she will take from the film to future projects.
Social ills become frivolous punchlines in this dire slice of Hollywood escapism.
Has the time come to ask if the pendulum has swung too far in the other direction?
The film unites its seemingly disparate strands of somber drama and deadpan comedy into a surprisingly cohesive whole.
Throughout, Judd Apatow dramatizes the ideal of community with an almost Eastwoodian sense of rapture.
Abel Ferrara’s film is about that precise feeling of living with an itch unscratched.
Every scene in Josephine Decker’s film operates at a maximum frenzy fraught with subtext.
The film is never more compelling than when relying on footage of the real NIYA DREAMers.
Across the film, the most idiosyncratic reactions of an ordinary human become real documents of human history.
The filmmakers patiently savor the great thrill of genre stories: anticipation.
On the Record implicates nothing less than the entirety of American culture in hip-hop’s sins.
Everything here wraps up as tidily as it does in your average Hallmark Channel movie.
Throughout the film, it’s as if mundane objects hold the remedies for the wretchedness of everyday life.
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