Though Visconti operates on the surface level of the material, he crafts a seductive surface.
The film maintains a unity of thought despite its expansive, kaleidoscopic approach.
For all of its spiritedness, the film wants for a more unique sense of invention.
There’s a sense here that Shannon has a dark comedy on his hands that he can’t commit to.
The film’s half-hearted gestures to various genres leave it in a no-genre zone of sorts.
Gazer sidles up to its story cautiously, mirroring its main character’s questioning nature.
Jaume Collet-Serra spins a deeper, darker yarn than the premise suggests.
The formal experimentation of the film is built to pose questions, not answer them.
The film is a loose adaptation of Thomas Pynchon’s 1990 novel Vineland.
David Ayer’s film proceeds as an unambiguous celebration of its hero’s vigilantism.
Gomes discusses the film’s “ping-ponging” dialectic, interpretations of the film, and more.
Like everyone else, we’re hoping for deaths that are as brutal as they are inventive.
The film uniquely blends documentary footage, scripted scenes, and a musical stage play.
Unicorns: the glittery, magical, and at times terrifying creatures that the movies just can’t resist.
The tidiness of The Friend increasingly plays as timidity across the two-hour runtime.
The film’s rhythms embody the swirling confusion and contradictions of adolescence itself.
The original tale proves too skeletal to support the film’s weightier ambitions.
Throughout, the filmmakers’ sympathies are lost in a confusing haze of cynicism.
The French filmmaker discusses how he formalized a Freudian gaze for the film.
Ash is a solid delivery mechanism for genre thrills.
The film intriguingly prods at current-day anxieties around having children.