The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
The Order stands out among bank robber films through the fervent fanaticism of its villains.
The witty repartee between Clooney and Pitt feels like the only thing holding the film together.
In The End, Oppenheimer again probes the idea that history is written by the victors.
Wilson discusses the influence of Kore-eda’s After Life, the film’s mirroring structure, and more.
Anger and Young discuss their symbiotic partnership on the set of the meta film.
The act of questioning moves the film beyond mere interrogation of the veracity of mediums.
Writer-director Asmae El Moudir’s examination of the Bread Riots is intensely personal.
Red Rooms is intensely aware of our always-on, always-plugged-in culture.
Baker’s portrayal of class, privilege, and more is nothing if not consistently clear-eyed.
In Cloud, Kurosawa literalizes the online rage machine with physical violence.
The film’s treatment of its subject is belligerently hamfisted, disingenuous, and incurious.
The film ultimately exploits an urgent crisis in order to provide audiences with genre kicks.
The continued cutaways back to Earth effectively de-pressurize Slingshot’s main plotline.
For better and worse, you can tell that The Wasp was initially written for the stage.
The film somehow shows its hand too early and plays its cards too close to its chest.
Silver and his two stars discuss their endlessly rewarding collaborative process.
Woo’s old-school methods are in full effect, but they lose their elegance on digital.
Only the third-act showdown inside an opera house elevates this mostly uninspired remake.
Death Will Come is a conspicuously de-glamorized tale of violent characters on society’s fringes.
The way Nora Fingscheidt captures two modes of life is one of the film’s greatest strengths.