The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
This year proved, as always, that one of the most reliable pleasures of cinema-going is great acting.
Cyrano will make you wish that Joe Wright had been more interested in the material at the center of his house of flourishes.
There’s no attempt to hide that the film is pure fan service, a greatest-hits mashup of Spider-Man’s cinematic legacy.
Lauren Hadaway’s The Novice takes the maxim “giving it 110%” to a practically literal extreme.
The xenophobic subtext of the prior films in the Kingsman series is text in Matthew Vaughn’s The King’s Man.
Del Toro’s heart beats louder when he allows himself to play, dreaming his own dreams and respecting his heroes enough to sully them.
These 10 titles suggest that a new golden age for the horror genre could be on the way.
The push and pull between gradual buildup and apocalyptic rupture allows the film to infiltrate the mind and recalibrate our sensitivity to time.
George Clooney’s film is a coming-of-age story that feels as if it was conceived inside of a lab.
These daring films show that cinema is evolving into a form that’s more personal and eccentric than ever.
These are the individual ballots that determined the site’s Top 50 Films of 2021.
As a peek into the relationship between sports, media and capitalism, National Champions feels like a beginner’s playbook.
Like Vice before it, the film too often uses satire as a tool of castigation rather than as a means of truly taking on the status quo.
Like all Sorkin-penned characters, this film’s version of Lucille Ball is a mouthpiece for his brand of smarmy, know-it-all sarcasm.
Guillermo del Toro reimagines an agonizing, still shocking noir as an exhibit in a wax museum.
For a while, though, Olivia Colman’s performance carries the film, with little narrative distraction or stylistic conspicuousness.
The film is a thoughtful examination of the human desire for it and the accompanying hope that it may exorcise the emptiness we feel.
Simon Rex discusses his disillusionment with Hollywood, his Red Rocket character’s similarities to him, and more.
Jonas Poher Rasmussen discusses the journey that Flee made from story to screen as it changed mediums, visual styles, and more.
As the film invites us to ponder the real-world circumstances that it implies, its self-seriousness becomes a double-edged sword.