The Japanese auteur’s latest shows nothing more clearly than its untapped potential.
Pier Paolo Pasolini perpetually rebelled against moral hegemony, commiserating with outcasts and creating and dying as one.
Jean Eustache obliquely puts on trial the self-reflexive cool of the early New Wave films.
The film’s hard-won humanism belongs only to itself.
The only past that Dial of Destiny is interested in plundering is the glory of its predecessors.
The film feels no more grounded than a gentle wisp of air.
The actors discuss the meta nature of the film’s plot and its perspective on American culture.
The actors discuss why Wes Anderson’s creative mind cannot be reduced to an algorithm.
The actors discuss how functioning as a troupe off-set translates into on-screen dynamics.
Hulk is a surprisingly thorny exploration of the rotten heart of the military-industrial complex.
Anderson moves even closer to cultural curation and further from sustained storytelling.
The story’s center isn’t strong enough for the rest of its disparate parts to hold.
Cinema isn’t the sole mechanism for making our presence known, but it can be among the most powerful.
Tyler Taormina’s film keys us to an almost primordial rhythm exempt from routine or history.
Georgia Oakley discusses Blue Jean’s depiction of homophobia in Thatcherite Britain.
Instead of a raucous celebration, The Flash feels like a muted parade of regrets.
The film’s supernatural flourishes take a backseat to a conflict of a much more mortal variety.
The film is inextricably bound to the very thing whose unstoppable creep worries Almada.
Eva Longoria’s film is simply a 99-minute commercial for the Frito-Lay corporation.
The film renders Dalí’s final years with a self-negating blend of pity and devotion.
Blue Jean more than ably exposes sexism and homophobia in British culture.