Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
On the occasion of the release of Black Adam we ranked every DCEU movie from worst to best.
The film is marked by wild flashes of invention, all born of painstaking craft and devotion.
The film suggests that violence on behalf of an oppressed people isn’t only justifiable but even moral.
Justice, Argentina, 1985 suggests, isn’t a destination but a constant process.
Rodrigo García’s film is fastidious, tidy, and lifeless, with every obligatory gesture in its place.
Wells discusses how she baked certain visual choices into her script, when she discovered others on set or the edit, and more.
Brainwashed comes dangerously close to inhabiting its own title.
For a while, the film feels more like a supervillain origin story than a traditional slasher.
Park Chan-wook discusses the origins of his aesthetic choices, how he came to his depiction of technology in the film, and more.
Qualley, Alwyn, and Denis discuss how the pandemic affected the production, and why trust underscores all elements of the film.
Mark Jenkin’s film feels as though it could have emerged from the decade of its setting.
Cristian Mungiu’s film reveals an unforgiving cynicism about the world as its social-realist strains become increasingly apparent.
Walter Saxer’s restrained and observational approach also proves disarmingly compassionate.
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It’s to Lawrence and Henry’s credit that what lingers is their characters’ uncertainty.
Throughout, Pereda announces herself as a skilled manipulator of audience sympathies.
The two-time Palme d’Or-winning filmmaker discusses his sociological imagination, the setup of his next project, and more.
The film is an illustration of the transition from the ethical pliancy of youth to the moral discernment of adulthood.
The film rarely articulates the book’s ideas with any real sense of the outside world without resorting to easy exaggerations.
The film drifts so far into weightless fantasy that it practically dissipates before one’s eyes.