The Japanese auteur’s latest shows nothing more clearly than its untapped potential.
Not for nothing does Eddington arrive with the tagline “Hindsight is 2020.”
The film’s action sequences showcase Gunn’s gift for large-scale but coherent spectacle.
The film is at its best when it’s keyed to its main character’s breakneck energy.
The film’s lightness and sense of wonder is befitting an evening of blissful dreams.
The film adopts a diaristic, epistolary form that flattens its emotional topography.
Serra discusses how being close to a torero taught him to take risks in his work.
Jaws is the pop masterpiece as happy accident.
This nostalgia-fueled adventure story is rendered soulless by the blatant product placement.
The film collages its influences with an anarchic panache.
The video store becomes something self-reflexive across the film’s three-hour running time.
R.T. Thorne’s film continually finds clever ways to subvert familiar story beats.
This high-energy crowd pleaser suggests a remake of Terminator 2 as directed by John Waters.
These films are a rebuke to those who reduce humanity to dollar signs.
The film conjures a distinct mood, if obliquely, through intimations of doom.
The writer-director-actor discusses how the film is in conversation with other depictions of sexual assault.
The film’s conception of the future, perceptively, looks back to humankind’s primeval past.
Friedland and Chalfant discuss aesthetics adding empathy to the recreation of dementia.
Elio’s best trait is the one that permeates every truly great first-contact story.
In the end, F1 succeeds for many of the same reasons that Top Gun: Maverick does.
Jarvis discusses the at once tender and menacing shape he gave to his role in the film.