Suzuki discusses his influences and process, his kinship to his main character, and more.
The film offers an unflinching and deeply human account of a little girl’s final hours.
The only thing surprising about this film is what Dolly does to Seann William Scott’s mug.
Mouse’s emotional heft can creep up on the viewer unannounced.
Schanelec is content to find beauty in the bizarre and mundane.
The film shows that the German master is fiercely determined to explore new frontiers.
This “kangaroo western” is, at least, an intermittently satisfying good-versus-evil tale.
The film is a poignant portrait of the desire for queer kinship within one’s very bloodline.
There’s something pleasingly unpretentious about how little room the film leaves for subtext.
Freudians will have a field day with Schleinzer’s 17th-century-set third feature.
The brittle humanity of the characters is the key ingredient to the film’s grim sense of irony.
Adam McDonald’s film struggles to bring its non-zombie characters to life.
The film, written by Efthymis Filippou, is a cartoonish cavalcade of pseudo-provocation.
For better and worse, the film suggests a low-rent spin on Terminator 2: Judgment Day.
Gomis’s sixth feature suggests a less sardonic version of one of Robert Altman’s hangout movies.
The film demonstrates the same sense of political urgency as The Teacher’s Lounge.
Like its main character’s modus operandi as a criminal, the film plays by the book.
Johnson and McCarrol talk Canada, comedy, and Back to the Future. Also Drake.
The film offers a joyous throwback to the optimistic feeling of the early internet creator era.
Like a particularly impressive aspic, the film is tantalizing to behold but not so easy to swallow.
The film’s climax is an unexpectedly tender spectacle of body horror.