The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
Jean-Pierre and Luc Dardenne continue their remarkable streak of films with Lorna’s Silence.
Postal is something more than a cult film.
In the film, love triumphs over geography, the laws of coincidence, even a near Titanic-level disaster.
V-Cinema has a fabled history to the Western audience.
Díte’s limited awakening is neither tragedy nor the kind of bitter, fatalistic farce seen in Seven Beauties.
The Edge of Heaven is like an unruly kid who draws penises all over your walls in permanent marker.
It all begins in earnest tonight, the official opening of the 34th Seattle International Film Festival.
If anyone doubts that children’s games are dark as well as exhilarating, they lack an understanding of the true nature of kids.
Anything goes, indeed.
One can feel the growing pains inherent in this transitional film.
The film is even less funny than Southland Tales, and not nearly as adventurous.
Like an eager frequent flyer, Western paternalism changes destinations but not its baggage.
After the disappointment of Blindness on day one, I enter day two ready to make the most of my time here in Cannes.
You don’t have to be a 24 or X-Files junkie to believe in conspiracy theories.
Writer-director Jerry Schram’s Insidious baffles from the get-go.
The Go-Getter is the cinematic navel lint from which She & Him crawled out to produce the almost cruel monotony of Volume One.
The film is less interested in contemplating the effects of man on nature (and vice versa) than paralleling modes of communication.
Armed with a life-affirming mocha breve from Caffé Zingaro, I make my way to the subterranean blue battleship known as SIFF Cinema.
Equilibrium is a condition all too rarely achieved by the bloated Indiana Jones and the Kingdom of the Crystal Skull.
The story is quaint but its heart is sweet and mellow, just like Nina Simone would have liked it.