The film is at its most piercing and perceptive when traversing the virtual (and virulent) minefield of online fringe groups.
The film has a weird, ghostly, even beautiful pull, but it functions mostly on theoretical terms because Kaufman has thought it to death.
There’s an engimatic quality to the role of Christopher Nolan in the current filmmaking landscape.
The film suggests that Bill and Ted’s dreams of stardom aren’t so stupid after all.
Every time that Tenet stops to speak, it only emphasizes a hollowness within.
The exhilaration of virtual film festivals is that they radically expand the access and means of audiences.
The Binge sees us all as horny nitwit fratboys at heart who need an excuse to cut loose.
It alternates political ponderings with a loose and discursive subtext in which Hubert Sauper explores the idea of Cuba as an island paradise.
A supplementary subject of most of Herzog’s work, which it shares with Chatwin’s, is a bottomless yearning for wonder.
Bas Devos’s film is a street-lit trek through the eerily empty avenues and byways of a city at sleep.
Dolan’s characters are of such broad definition that it’s impossible to regard them as anything other than aesthetic objects.
“Western Noir” is currently streaming on the Criterion Channel.
The film mostly works to confirm that its main characters’ love for one another is straightforward and without complexities.
Sofia Coppola’s latest promises to be an exuberant love letter to New York.
The film reeks of the extremely idealistic notions of young love that plague many a YA adaptation.
Unhinged is essentially a nihilistic, style-free destructo-rama that’s designed to make us feel like shit.
You could say that the real message that sums up the film is that no humans are bad.
The actor discusses his urge to utilize the happy accidents that can bring a scene to life.
The most that the film can manage is to bookend itself with a word-salad thesis about the pursuit of emotional truth in art.
When something is an open secret, does confirmation matter?