The Japanese auteur’s latest shows nothing more clearly than its untapped potential.
Emergency is uneven, but it’s grounded by dynamic performances and a vivid portrayal of the minutiae of friendship.
Men finds Garland turning from science fiction to folk horror and producing a film that exemplifies his best and worst tendencies.
Georgis Grigorakis’s film may not revolutionize the western genre by transposing it to an unlikely setting, but it doesn’t dilute it either.
The documentary’s aesthetic approach is purposeful, echoing the us-or-them sentiment held by the groups aiming guns at each other.
At its best, A New Era quietly links its themes of entitlement and survival.
This new Firestarter is an almost anachronistically short production whose elements just sit there like mishandled kindling.
With his Deception, Desplechin renders one of a great author’s slighter works titanic by comparison.
Joseph Kosinski’s film fully surrenders to the grandiose fun that’s marked the best of Tom Cruise’s recent star vehicles.
Distractingly indebted to No Country for Old Men, the film’s wild tonal swings mostly leave it feeling impossibly disjointed.
The film is initially distinguished by its poetic understatement, only for it to eventually succumb to staleness.
The film fiercely homes in at the moral perversity of an industry at a particular intersection of capitalism, patriarchy, and digital-age spectacle.
Gaspar Noé discusses his use of split-screen, and what he thinks about death after grappling with it so directly across his work.
The Takedown’s supposedly inclusionary, pro-immigrant messaging is constantly undermined by puerile and dated humor.
These 12 incredible films show us utopias, dystopias, distant planets, and our own Earth destroyed.
This psychedelic, horror-strewn romp’s artistry perfectly reflects the intensity of Strange navigating endless alternate realms.
Director Domee Shi and producer Lindsey Collins discuss what the role of storytelling can be in creating change.
The home invasion at the center of this puzzle-box film is a red herring of sorts.
If the film-within-the-film is a vapid fetishization of women’s martyrdom, Lux Æterna is a willful exercise in repulsing its own audience.
Here’s hoping that TCMFF marches forward and continues to remind us of every reason why the movies are so essential.
Martin Campbell’s film never shakes off its familiarity, and as such seems destined to, well, be lost to public memory.