These are the films from this millennium that have most shocked us by plumbing our deepest primordial terrors.
The repetitious plot is more ritual than text as we watch yet another Liam Neeson avenger defy the will of younger, unscrupulous men.
The filmmaker discusses how Shithouse reflects the specifics of a certain life experience.
Nocturne is a reminder that the notes themselves are just as important as how you play them.
Elan and Rajeev Dassani’s Evil Eye has no set pieces, jokes, or surprises.
The film excels at capturing the emotional substance of what we think we remember about our pasts.
The myth of Joan Crawford’s life and career is inseparable from what she did on screen.
In French Exit’s best passages, sadness and curt, resonant comedy exist side by side unceremoniously.
The film is a quietly enraged, and enraging, assault on Donald Trump’s handling of the Covid-19 pandemic.
Over the Moon mixes the unbridled free-association of playtime with an undercurrent of barbed satire.
Only when left to their own devices do the film’s stars enter the less manic, more heartfelt realm of the book.
A challenge inherent to a parable of this sort is that evil, being so seductive, can make good seem dull or prissy by comparison.
Radha Blank’s film contemplates a woman’s 40th year as a no-woman’s land.
The film looks for an emotional payoff by continually upping the stakes of its main character’s self-destructive short-term thinking.
Writer-director Jim Cummings reinvigorates an oft-told tale with personal, thorny preoccupations.
At the heart of Veena Sud’s film is the raw material for a potentially ingenious satirical domestic thriller.
The film ruminates on how virtuality infiltrates the deepest regions of our subconscious to reprogram the inner workings of the self.
In the ‘70s, a new wave of horror film presented terror as a messy, brutally honest implosion from within.
Johnson discusses how the omnipresence of cameras is adjusting our relationship to the concept of memory.
In conjunction with the release of On the Rocks, we ranked Coppola’s films.