Though Visconti operates on the surface level of the material, he crafts a seductive surface.
This is “content” at its most nakedly bankrupt.
Holland doesn’t seem to want us to know what to make of it.
The film seems fundamentally disinterested in what makes celebrity so compelling.
Lesage discusses the struggles faced by more than just youth across his films.
The film knows that when the stakes are sky high, the emotions need to be firmly grounded.
The film suggests Rules of the Game cross-bred with a Spielberg creature feature.
The film doesn’t employ stylized fiction as a conduit to real life, as Lou aims dead on for it.
The film truthfully hints at the sharp whirs behind the smooth façade of everyday life.
Novocaine takes action-movie invulnerability to brutal comic extremes.
Nyoni and Susan discuss how they collaborated to develop the inscrutable character of Shula.
James Griffiths’s film plays both its drama and comedy in decidedly minor keys.
Black Bag is the kind of old-fashioned caper that Soderbergh can make in his sleep.
This is an immensely likeable film, thanks largely to the chemistry between its two leads.
Lund discusses how Wiseman, the legacy of baseball movies, and criticism influenced Eephus.
McVeigh’s ominous atmosphere is omnipresent, clinging to Timothy like a dog to a bone.
The film provides Anderson with a sturdy canvas for his unique brand of gaudy, campy cool.
Robert Pattinson clearly relishes leaning into bug-eyed lunacy as much as he does pathos.
In a work as emotionally devastating as this, the performances are everything.
The film is a meditation on love and desire, death and memory, silence and expression.
After a while, the film’s bleak atmosphere becomes more grating than unsettling.