Though Visconti operates on the surface level of the material, he crafts a seductive surface.
The film is a stunning screed against colonial racism and state-sanctioned violence.
Sayles discusses how his 1996 neo-western noir speaks to the present political climate.
The film isn’t designed to challenge what you think you know about the Church of Satan.
The film approaches a new tech frontier with an objective, responsibly apprehensive, eye.
The Seeding’s scare tactics scare less than they remind us of other better and, yes, scarier films.
Like Identifying Features, Sujo favors leaving things unseen and unspoken.
The domestic box office wasn’t the only thing saved by Barbenheimer last year.
The film is remarkable for largely leaving emotions unresolved and relationships feeling messy.
The film is less focused on the freedom of catharsis than on the messiness of self-actualization.
The film only give voice to the politics informing the drama in spare moments of suspense.
Throughout The Beekeeper, our hero’s actions remain curiously unexamined by the filmmakers.
I Heard It Through the Grapevine makes the political personal at every turn.
In the film, the embrace of storytelling through song and dance is front and center.
The Book of Clarence has an energy that’s largely missing from its influences.
Gálvez discusses why his feature-length debut always had to exist within the western genre.
Johnson’s film is effectively a light-hearted version of David Fincher’s The Game.
There’s an elegiac beauty to the film’s pool scenes, but everything that surrounds them is leaden.
Mayhem! comes to a screeching halt when it’s functioning as a narrative delivery machine.
The film hits its plot milestones as fast as humanly possible, cohesion or depth be damned.
Durkin discusses his approach to genre and the film’s thematic overlap with his prior work.