The film is held together by the intensity of its haunted-looking cast and the dour atmosphere.
The film is at once among Allen’s most economical works and one of his most free-spirited.
The Old Oak Review: Ken Loach’s Swan Song Is a Moving Clarion Call for a Better Tomorrow
The Old Oak, like the best of Loach’s work, isn’t so much a sermon as it is a plea.
On the occasion of Godzilla x Kong’s release, we ranked the films in the Godzilla franchise.
Rohrwacher and O’Connor discuss the ethereal qualities of the film’s main character.
Godzilla and Kong’s team-up is an inevitability, but the film takes its sweet time getting there.
Jean-Stéphane Sauvaire’s Asphalt City is less a film than a guttersnipe’s wallow.
The film flits uncertainly between telegraphing seriousness and seeking refuge in camp.
The filmmaker discusses his approach to depicting the present day as a historical moment.
The film is seemingly afraid to do anything too extreme with the toys at its disposal.
The comparison to Christopher Nolan’s breakout doesn’t do Adam Cooper’s film any favors.
A highlight of this year’s festival was the focus on the work of Basma Al-Sharif.
The film is a sensitive, dewy-eyed romance about two adults in the process of becoming.
Late Night with the Devil Review: David Dastmalchian Carries Devilishly Fun TV Satire
The further things go off the rails, the more the film revels in its retro special effects.
This list is part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives.
The film knows that there’s no way of reversing historical trauma, only surviving in its wake.
Med Hondo’s film is a bravura spectacle of intellectual and cinematic daring.
Civil War is intelligent precision filmmaking trained on an impossible subject.
The film is a 105-minute, unchallenged preaching session on the virtues of minstrelsy.
The film reduces the arc of Chisholm’s life to inspirational movie clichés.
The film contains some of the gnarliest violence this subgenre of horror has seen in years.