Clay Tatum’s film is wholly and refreshingly uninterested in tuggling at the heartstrings.
For all the thrills provided by its pioneering pageantry, the film leaves you with a soul-nagging query: What price entertainment?
The worse the times, the better the horror.
These sequences wielded the tools of cinema to make themselves unforgettable.
Hong Chau discusses acting between the lines and balancing work and parenthood.
If cinema is in a state of identity crisis, we’re all the beneficiaries.
Greenaway discusses his ideas about cinema and the limitations of text-based filmmaking.
Violent Night wants to have its Christmas cookies and eat them too.
2nd Chance is a terrific American tall tale as well as a cautionary tale and a ripping good yarn.
The film proves, if nothing else, how resistant D.H. Lawrence’s fiction remains to adaptation.
Strange World never escapes an aura of familiarity.
Devotion will do little to change perceptions of the Korean War as the “forgotten war.”
Skolimowski and Piaskowska discuss how emotion guided all of their creative choices.
Guadagnino and Russell dicuss what they learned about America during the film’s shoot.
Maria Schrader’s film is crushed under the weight of its own self-importance.
Slumberland lacks the sense of danger that Winsor McCay liberally infused into his stories.
Throughout, the film toggles between comedy, light surreality, and philosophical inquiry.
The script lacks for the variety needed to make more than just a tasting menu take flight.
Wiseman discusses the shooting the film, Sophia Tolstoy’s novels and letters, and more.
Spirited proceeds as a parade of limply ironic pop-culture references and name-drops.
The film coheres as a powerful study of the way in which people are cloistered by stories.