Though Visconti operates on the surface level of the material, he crafts a seductive surface.
Tony Stone’s avoidance of emotional manipulation in dramatizing Ted Kaczynski’s terror campaign is admirable, but only up to a point.
Taurus is in the business of self-aggrandizement, but this is a film that understands that stardom is inherently aggrandizing.
This unconventional biography casts its subject as the protagonist of his time, a mirror for the rapidly changing country in which he lived.
Strawberry Mansion playfully and delightfully draws parallels between the creative agency of dreams and the waking creativity of filmmaking.
Incredible But True endlessly draws out every stilted interaction for maximum deadpan effect.
The film extends into impactful hyperbole the tensions inherent in being subjects of and subjects to incessant surveillance.
Throughout, Josephine Decker effortlessly keys her intimate and eccentric style to her main character’s complicated inner turmoil.
Marry Me plays out as the logical culmination of a multi-hyphenate icon’s indiscriminate commercial voracity.
Blacklight is a series of repetitious, dialogue-driven scenes capped by an inevitable, and uneventful, action-driven showdown.
The solemnity of Josef Kubota Wladyka’s film is at odds with the gratuitousness of its violence.
The film, in trying to play “gotcha” with its audience, trips over itself and totally unravels in the process.
It’s once again AMPAS’s moment to show what side of history they want to be on.
Once things get moving, it’s smooth sailing to the double-shocker of a denouement.
Feelings are unutterable and intimacy unbearable in the Japan depicted in Kudo Riho’s Let Me Hear It Barefoot.
Trier and his actors discuss finding maturity on and off screen, and how they pulled off the film’s searing centerpiece breakup scene.
To see the old-timers pass the torch to their acolytes cements the improbable importance of Jackass in American pop culture.
Beneath the prestige-horror trappings of Hanna Bergholm’s debut feature lies a grungy little creature feature yearning to break free.
Throughout Last Looks, the filmmakers tend to a conventional mystery that could have benefited from more satiric intention.
The material realities of being a woman in Chad are expressed with profound sympathy in Mahamat-Saleh Haroun’s film.
Death and childhood haunt Pénélope My Love and Malintzin 17.