On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
Apocalyptic amour fou corrupts the earth in Happy End, Arnaud and Jean-Marie Larrieu’s adaptation of Dominique Noguez’s 1991 novel about love, loss, and nuclear bombs over Moscow.
Gee, you think producer Adam Shankman is hedging his bets on his precious Oscarcast (based on the song “Push It” by Salt-N-Pepa) turning into ladies’ night?
With startling and memorable beauty, Sun Spots blends HD imagery with a slow sense of creeping terror.
The Mirror is an affectionate tribute to a way of life I’m not necessarily inclined to celebrate.
To Grandrieux, people are figures in landscapes, in fact parts of the landscape, so that the films literally become action painting.
The documentary short category this year feels especially wracked with tragedy.
A mysterious, handsome man lures women to their doom.
The film brings a bleakly comic sensibility—as well as an insider’s perspective—to 60 turbulent years of Israeli-Palestinian conflict.
A riot of heavy glances and portentous imagery, a near constant chorus of brooding strings and, in its latter, terminal stages, an excruciating program of narrative elongation that verges on the absurd.
Majestic animation fails to conjure a sense of enchantment in The Secret of Kells, a beautiful two-dimensional work devoid of dramatic vigor.
The rule of Lewis Carroll’s Wonderland, like that of dreams, is that there are no rules.
The sound category that more often rewards nuance probably deserves a little bit more consideration than I gave to sound editing a few days ago.
Harlem Aria is like a twentysomething’s funhouse of anachronistic mirrors.
Like fellow French film essayists Chris Marker and Agnès Varda, Luc Moullet is extremely playful.
We’re down to the wire, folks, and we’ve been saving some of the more contentious races for last.
Harlan: In the Shadow of Jew Süss doesn’t dig quite deep enough into a critical appraisal of its subject’s work.
The Young Victoria is not particularly stodgy, but it is rather flat and literal.
The secret passion of the cinephile is to find a hidden treasure.
Of the two sound categories, this is the one that favors artificially invented environments and sonic fabrications.
The extended car ride sequence in Kinatay represents the dizzying peak of Mendoza’s filmmaking.