Tension becomes Caitlin Cronenberg’s film. The release of it, not so much.
The film is a modest vision of characters trucking on in spite of their difficult circumstances.
From down-home Christian horror to Disney?
Sam Raimi’s sequel/remake is full-on gore slapstick, more Tex Avery than Dario Argento.
Slant Magazine sat down with the director to discuss the making and politics of HellBent.
The film is one for the ages, and in anticipation of its first-run release, we met with Sachs at his office in downtown Manhattan.
The Green Cockatoo is a highly entertaining curio of early British cinema.
Mitsuo Yanagimachi’s film is a captivatingly detailed ode to community and the movies.
Carroll Ballard’sDuma has a mythical, nurturing resonance.
The Squid and the Whale dares not harshly judge its all-too-human characters.
One more ’50s housewife role for Julianne Moore and a biopic on Betty Crocker can’t be too far behind.
The film is a joyous mash note to the events of May ‘68.
Campion’s film comes up short in never satisfactorily illustrating the importance or character of Frame’s writing.
Never Been Thawed is so convinced of its coolness that it even abbreviates its title to NBT.
The high-def video production Haze masks its profoundly romantic intentions within a claustrophobic J-Horror façade.
Can’t decide if you want to remake 400 Blows or The Piano?
The film’s pieces and killings are mostly unimaginative.
Are films capable of humanizing murderers without also invariably asking audiences to have compassion for the perpetrators?
Avi Mograbi ’s documentary trades in irony with a capital I.
The film is a haunting companion piece to Hany Abu-Assad’s forthcoming Paradise Now.
How unfortunate that this thriller at 40,000 feet comes so soon after the release of Red Eye.