The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
The refusal to settle for Thompson’s druggy image that enlarges the film’s view of political disillusionment and connects it to our own era of fear and loathing.
Watching Abraham, I kept thinking that he’s ripe for rediscovery and reinvention as a comedian.
The way Michael Patrick King tells it, you wouldn’t think much has changed since the Civil War-era plantation.
Strongest among the six selections is, perhaps incidentally, the titular L’Origine de la Tendresse.
In Kicking It, the impoverished conditions of the film’s subjects matter significantly less than the rush of competition.
When Did You Last See Your Father? is a low-key Big Fish minus the whimsical fantasy.
Documentary focus is something that, like car keys, should not be given unquestioningly to high schoolers.
Sure, we’re as surprised as you that we’re still doing this, but without this podcast we’d go hungry.
Marco Bellochio’s Wedding Director is consistently pleasant from first to last.
George A. Romero’s film holds up as a stark, eerie and unrelenting parable of dread.
The film looks for emotional truth in high school cliques but instead ends one Ally Sheedy cameo short of Not Another Teen Movie, Part Deux.
Even romantic Woody Allen comes with a heaping side-order of questions and doubt.
Clint Eastwood is a masterful director, but he loses control of Changeling’s tone.
A key, perhaps, to the labyrinth.
Every Indiana Jones film tells us, upfront, how to read and experience it.
What a long, strange week it’s been.
The documentary combines a primer-essay on the use of anabolic steroids in America with a family chronicle verging on cine-therapy.
Fast, fierce and bleakly funny, Stuck gets in and gets out with a minimum of fuss.
You can tell a lot about a film festival from its opening-night selection.
Harlan Ellison is a mook, but he won’t begrudge you for calling him that.