On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
Rahul Jain’s film conveys with revelatory force the mechanization of people in an industrialized milieu.
The rhythmic editing contextualizes Ferguson’s streets for their relevance to a populace’s want for stability and peace.
The film’s emotional resonance feels hollow, watered down by an overstuffed plot that bites off more than it can chew.
The film is indebted to Alexander Payne’s social comedies, which dwell in the backwash of the American dream.
On the occasion of the release of Detroit, we look back at the filmmaker’s kinetic body of work.
Amanda Lipitz’s documentary Step fits the lives of its three main subjects into a predetermined narrative arc.
The speed with which characters lay out the story’s dire stakes prevents King’s rich mythology from taking root.
Kidnap is an efficient vehicle for the delivery of some lean action that’s weakened by a scarcely whip-smart script.
Cocote will have its world premiere on Wednesdy, August 3 at the Swiss festival.
Call Me by Your Name first earned plaudits at its world premiere at this year’s Sundance Film Festival.
Kogonada on working with Haley Lu Richardson and John Cho and seeking “modernism with a soul.”
Clint Eastwood’s Unforgiven brought the revisionist revenge film into the 1990s and, by extension, the 21st century.
The filmmaker discusses the stories that hide in between the lines of art.
The seeming miracle of Columbus is its mixture of formal precision with a philosophical grasp of human mystery.
It contributes to a growing list of documentaries tailored to stoke the flames of our punishing political news cycle.
The film is lazily content to simply put its female characters through the potty-mouthed, gross-out comedy ringer.
Good Time is scrupulously designed to address how the urban poor interact and negotiate with city services.
Writer-director Lina Rodriguez’s film is about smallness, of a sliver of Colombian life, or of life tout court.
The film succumbs to its main character’s didacticism: His perceived humility masks a smug, Manichean worldview.
Kathryn Bigelow hyper-realistically covers her ensemble’s actions in the manner of a somber disaster film.