The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
How does a talented, critically celebrated actor follow-up an Oscar nomination for a low-budget indie?
As documented by Mary Jordan, Jack Smith’s art was incontrovertibly tied up with his vengeful, assaultive personality.
Minor but moving, it’s a story about, and for, outsiders—and PETA members as well.
It’s worth considering where The Sopranos fits in the pantheon of great mob stories that have been committed to film.
For its rambunctious first half, Lasse Hallström’s The Hoax is a rip-roaring yarn.
Everything’s Gone Green just barely hangs there in that low-watt Canadian film-world deadpan, when it calls out for a shot of adrenaline.
Comedy is the lasting virtue here.
God works in mysterious ways.
Had it been made shortly after 9/11, Firehouse Dog might have seemed like a shameless attempt to marry the country’s reverence for the New York Fire Department with Air Bud.
Muriel incidentally captures the thrill and frustration of current-day cinephilia.
The average baseball movie is not actually about baseball.
The film is a tender almost-musical about the horrors of war and the obliteration of identity.
To his credit, Rainer Werner Fassbinder’s highly problematic directorial intentions don’t emerge from the literal nowhere.
The film’s confrontational tension stems not only from the open abuse of the interview subjects.
Quentin Tarantino and Robert Rodriguez’s Grindhouse is more homage than reinvention of schlock.
The film gleefully clings to an unattractive frat-boy ethos while squandering the opportunity for real rebelliousness.
There’s a deceptive layer of questioning in Brougher’s POV that always keeps the viewer alert.
Stephen Anderson’s film trembles in the shadow of Brad Bird’s The Incredibles.
Chris Eigemanembodies an erudite prep school English teacher beset by ambivalence about his upper-crust professional milieu.
A title like Are We Done Yet? does my job for me.