The Binge sees us all as horny nitwit fratboys at heart who need an excuse to cut loose.
It alternates political ponderings with a loose and discursive subtext in which Hubert Sauper explores the idea of Cuba as an island paradise.
A supplementary subject of most of Herzog’s work, which it shares with Chatwin’s, is a bottomless yearning for wonder.
Bas Devos’s film is a street-lit trek through the eerily empty avenues and byways of a city at sleep.
Dolan’s characters are of such broad definition that it’s impossible to regard them as anything other than aesthetic objects.
“Western Noir” is currently streaming on the Criterion Channel.
The film mostly works to confirm that its main characters’ love for one another is straightforward and without complexities.
Sofia Coppola’s latest promises to be an exuberant love letter to New York.
The film reeks of the extremely idealistic notions of young love that plague many a YA adaptation.
Unhinged is essentially a nihilistic, style-free destructo-rama that’s designed to make us feel like shit.
You could say that the real message that sums up the film is that no humans are bad.
The actor discusses his urge to utilize the happy accidents that can bring a scene to life.
The most that the film can manage is to bookend itself with a word-salad thesis about the pursuit of emotional truth in art.
When something is an open secret, does confirmation matter?
Peninsula feels like the work of an artist who misunderstood his past triumph.
RZA’s film is atmospheric survey of the thankless world of the rich and the damned.
A profound sense of restlessness and loneliness haunts Michael Almereyda’s film, which reinvigorates the biopic genre.
The film is an unwieldy array of muddled ideas that never gel together into a cohesive whole.
Get Duked! offers enough evidence to suggest that Ninian Doff may be a new comedic voice to look out for.
Reiner Holzemer’s adulation of his subject feels most credible because he spends a lot of time focusing on the clothes.