Though Visconti operates on the surface level of the material, he crafts a seductive surface.
Triet and Hüller discuss the use of language in the film, audience reactions to it, and more.
This is no ordinary concert film, beginning with there being no audience.
The metaphysical realm governs the non-ideal world inhabited by each of Eureka’s characters.
Holland’s sense of propulsive, incandescent outrage is the film’s strongest attribute.
Throughout the film, Mendonça Filho’s warm remembrances are streaked with bitterness.
Divinity amounts to an exercise in style for style’s sake.
Baker’s spare dialogue style remains intact, with each line revealing of character and mood.
Once Within a Time is more of a gesture than a chain of events.
In the instances where it’s not going hard, Dicks is a surprisingly flaccid affair.
The film refuses to vary from its quickly established tone of gentle, plaintive lyricism.
Green discusses why she felt her new film always needed to be in the present tense.
Throughout Maestro, Bradley Cooper mostly relegates Bernstein’s art to the sidelines.
This flashy legal melodrama is too flabby to deliver the walloping blow that it needs.
The film again proves that Lanthimos is a skilled director of blunt strangeness and surreality.
Totally Killer has a lot of fun poking at the tricks and tropes of slasher movies.
Richard Linklater’s film sees performance as a fundamental part of our lives.
David Gordon Green’s newest attempt to raise franchise hell results in a disjointed mess.
Priscilla’s expanded canvas often obscures its emotional subtleties.
The film is a blistering laceration of the contradictions and hypocrisies of European racism.
Paul B. Preciado’s documentary quite aptly languishes in an undefinable interstitial space.