Though Visconti operates on the surface level of the material, he crafts a seductive surface.
Payal Kapadia has created an exceptional document of a city and its people.
Ezra sees itself as a kind of rebuke to films like Extremely Loud & Incredibly Close.
The metaphysical narrative traces the ephemeral journey of one soul through death and rebirth.
Ultimately, the didacticism of Mortensen’s film lets it down.
Berger’s film effortlessly brings a sense of universality to its story.
The self-loathing here is front and center, and Schrader looks it straight in the eye.
Atlas seems like a story that should have been experienced with a gamepad in hand.
A winning premise and a big heart can’t save this fantasy romp from feeling unfinished.
The film attests to Miller’s enduring aptitude for utilizing the ridiculous to achieve the sublime.
This film’s approach to slasher film mayhem is liable to induce some serious déjà vu.
Corman’s protégés number among the most influential people in cinema.
The brothers discuss the film’s roots, giving the actors secrets at the start of each day, and more.
The film is the highly anticipated prequel to the series created by John Krasinski.
These widescreen skirmishes exude none of the grace and realism of the more somber scenes.
Hamaguchi discusses the evolution of his approach to dialogue and camera movement.
The film is rich in compositions that seem to cut to the essence of the characters’ yearnings.
With each new narrative development, the film’s game of cat and mouse grows more complex.
The film is a trenchant look at how the police have only built their impunity over time.
Whenever Ryan Gosling and Emily Blunt aren’t on screen together, the movie magic dissipates.
The film is eventually caught up in the very pomp and splendor that it initially lampoons.