Travis Knight’s film is keen to get audiences to laugh at it instead of with it.
The Swiss festival remains a haven for docuphiles.
The film turns the realities of a tragic, deeply complicated life into a sanitized popcorn film.
Magaro discusses why he thinks audiences understand his character’s controversial choice.
Aramayo discusses how he approached his portrayal of someone with Tourette’s.
Its mix of compassion and clarity allows it to avoid the easy sentimentality of similar tales.
The film is much more interested in the logistics of bomb defusal than any of its characters.
In lieu of any competent drama, we get stylistic excess that feels like overcompensation.
Jonsson and Blyth make for a fascinating yin-and-yang pair across this gritty prison drama.
Ben Wheatley’s film has a more thoughtful underpinning than your average 87Eleven joint.
Ohs discusses why he likens his “table of bubbles” filmmaking approach to a scientific method.
The film is an invitation for the pop-loving faithful to commune with the dark and divine.
Lowery discusses the creative uncertainty that led him to write Mother Mary.
Akin’s film is a humble monument to the capacity for generational change.
The film folds warmth into the real pressures that define daily life in a Dominican community.
Kopple’s documentary classic is brutally revealing about the state of American capitalism.
The nightmare of assimilation that Slanted imagines feels single-minded.
A24 opens Wilde’s follow-up to Don’t Worry Darling on June 26.
Chao is a boisterous celebration of the flatness and fluidity of hand-drawn animation.
Bezinović never allows us to forget the provisional, ramshackle frivolity of his storytelling.
Romvari discusses how her autobiographical first feature builds on her short work.