Though Visconti operates on the surface level of the material, he crafts a seductive surface.
Jia discusses why he thinks the shifting nature of society has also shifted our conception of time.
This is the first major survey of Naruse’s work to screen in New York in 20 years.
Lee’s film is a “reinterpretation” of Kurosawa Akira’s 1963 masterpiece High and Low.
The film plays right into Robinson’s sweet spot of surrealistic and satirical comedy.
The opening of Fight or Flight writes a check for mayhem that the rest of the film can’t cash.
Potrykus discusses ’90s nostalgia, his favor-based production method, and more.
The film is half a typically broad Paul Feig comedy, half imitation Gone Girl.
Patchy as the film may be, the ennui felt by its characters is thematically fascinating.
The official trailer for Zach Cregger’s Barbarian follow-up amps up the teaser’s creep factor.
The film tells the story of legendary mixed martial arts and UFC fighter Mark Kerr.
Potrykus looks without flinching at the ultimate consequences of permanent adolescence.
The film finds a state of grace in that torrential pull between the familiar and the new.
The film is a philosophical account of the shaky ground that human existence stands on.
The film is far from original, but it successfully translates game logic to the big screen.
If only the entirety of the film displayed the ferocious sense of purpose of its final act.
Saxon discusses what he sees as the relationship between technology and nature.
Kulumbegashvili discusses why she wants to sabotage expectations every time she makes a film.
Everything here is too clean and fastidious—the opposite of lived in.
Ultimately, the film’s broad comic strokes mesh poorly with its boilerplate action beats.
The marketing folk over at Sony are cheeky monkeys.