The film is ostensibly about the war for the soul of a house, but it couldn’t feel less lived in.
It’s an occasionally amusing and insightful beltway satire that’s ultimately undone by its conventional mise-en-scène and predictable plot.
The film strives to teach people about the institutional racism that fueled the South Bronx fires of the 1970s.
The film essentially indulges in the same act of willful distractedness as Ted Bundy’s admirers.
Werner Herzog’s documentary is a rare example of the arch ironist’s capacity to be awed not by nature but by man.
Abel Ferrara’s documentary excels as kind of cultural microcosm, rich in its broader implications.
What better goal could there be for an UglyDoll than to find meaning as a product in the hands of a consumer?
The film remains as legendary for its artistry as it is for the difficulty of its making.
Sonic the Hedgehog and Slant’s nine-year relationship has seen its ups and downs.
At its best, the film is a testament to how Ruth Westheimer’s practiced decency was literally a saving grace during the Reagan era.
Zhang viscerally unites musical and action forms, underscoring their similarity as celebrations of movement.
The actors and filmmaker discuss the father-son relationship at the heart of the film.
Below are some of the films, collections, and series that have already made the channel a vital service.
As it proceeds toward its telegraphed rom-com ending, the film becomes just more empty rhetoric, an ineffectual reiteration.
Rachel Lears’s film is a rebuttal to the position that Ocasio Cortez's election victory was an incidental event in American politics.
Fiennes discusses his affinity for Russian culture and exploring Nureyev’s life in nonlinear fashion.
Ant Timpson’s feature debut is a crazed parody of the self-pity inherent in familial resentments.
On the eve of Avengers: Endgame’s release, we ranked the 22 films in the Marvel Cinematic Universe.
Appearing to recognize the flimsiness of her material, Roxanne Benjamin overcompensates with insistent direction.
Ralph Fiennes’s film too conspicuously avoids an overt political perspective.