On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
A testament to film’s documentary function to record moments of queasy immediacy as well as to Kimberly Reed’s thoughtful self-analysis.
It’s only natural that Jacques Audiard’s A Prophet is situated primarily within a roughneck French prison.
The film begins with a fair amount of promise as the filmmakers signal their commitment to exploring the possibilities of the three-character dynamic.
The film is simultaneously gut-churning, heart-wrenching, and head-thunking, a smorgasbord of alienation and detonation.
By the grace of five extra Best Picture nominations, Pixar finally managed to land itself a slot in the main drag.
The film is a compilation of deadpan vignettes about Romanian life under Ceausescu’s authoritarian ’80s rule.
Sometimes the key to an actor’s successful Oscar campaign is to let the performance speak entirely for itself.
The problem with Be Good is one that it shares with other, similarly ambiguous character studies about people with hidden pasts.
The big story here is Adam Shankman’s apparently Board of Directors-blessed mission to make over the Oscarcast.
Kore-eda Hirokazu’s Air Doll cares not for gritty reality but merely the stuff of fairy-tale movies.
Eric says over email, “Among the not-irritating hipster entries, The Door has a shot of eight little bald kids. Is that not enough?”
The film’s value beyond its exquisite use of setting to craft mood is a dicey question.
How do you solve a problem like Avatar? How do you hold a fluorescent, floating anemone in your hand?
Robert Altman’s Nashville is one of those rare films that feels more timely, more relevant, the more time goes by.
Martin Scorsese’s film walks a fine line between institutional thriller and what-is-reality inquest.
It’s clear from her work in Applause that Paprika Steen has a face for the camera.
We regret to inform you that Slant Magazine officially supports Avatar’s smurferific visual effects in this category.
Jessica Hausner’s film is a deliberately paced examination of Catholic mysticism with sharp sprinkles of magical realism.
Accident eventually settles into more familiar narrative rhythms, owing quite a bit in tone and message to The Conversation.
Tomorrow, I meet a camp Indian cowboy, two Aboriginal car thieves, a lonely girl impregnated by her own father, and a bunch of undead Nazis.