Peninsula feels like the work of an artist who misunderstood his past triumph.
RZA’s film is atmospheric survey of the thankless world of the rich and the damned.
A profound sense of restlessness and loneliness haunts Michael Almereyda’s film, which reinvigorates the biopic genre.
The film is an unwieldy array of muddled ideas that never gel together into a cohesive whole.
Get Duked! offers enough evidence to suggest that Ninian Doff may be a new comedic voice to look out for.
Reiner Holzemer’s adulation of his subject feels most credible because he spends a lot of time focusing on the clothes.
The film suggests that our political system is a popularity contest that functions for no one but those jockeying for power.
Sputnik is an egregious missed opportunity that bites off more formulas than it can chew.
The maverick filmmaker discusses working with the tarot, the surrealist moviement, and more.
Sheil discusses how she situates the specifics of work within such an ambiguous and allegorical film.
Rogen discusses collaborating with Simon Rich, how the film enriched his understanding of Judaism, the exhibition prospects of comedy in the streaming era, and more.
Its emphasis on the achievement of the individual is practically antithetical to the conclusion drawn by Frances Hodgson Burnett.
The film could stand as a fitting encapsulation of the themes that have run throughout Alejandro Jodorowsky’s work.
Mehrdad Oskouei’s documentary is striking for the way its subjects describe horrific forms of violence in the plainest of language.
The film is strikingly fixated on exploring loss and pain on an intimate and personal scale.
The visual album proposes a pan-African vision of legacy, abundance, and unity.
Ciro Guerra never quite finds an imagistic equivalent to the novel’s subtly hallucinogenic atmosphere.
The film uses endangered press freedom in the Philippines to illustrate the threat posed to liberal democracy by weaponized social media.
The film is almost sadistically driven to turn a woman’s trip down memory lane into fodder for cringe humor.
Perhaps as a result of her attempting to avoid all matter of clichés, not just of genre, Amy Seimetz revels in vagueness.