The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
This West Side Story, though, is at its best when it zooms in and settles down into character study.
On the occasion of Benedetta’s release, we ranked the films of the Dutch auteur, satirist of American excess and fascist ideals.
The Maniac Cop sequels are fascinating for their competing sensibilities.
The film misplaces the root of our current existential dilemma, then covers it with tepid droll comedy and clunky melodrama.
Throughout Paolo Sorrentino’s film, the line between miracle and cosmic prank, even tragedy, is rendered indistinguishable.
Though often abstract in its imagery, the film’s blistering commentary remains firmly rooted in our present reality.
The Unforgivable is devoid of all textures and emotions that don’t readily affirm the film’s rigid worldview of redemption.
Death and its inevitability loom large over Román Viñoly Barreto’s The Beast Must Die and Fernando Ayala’s The Bitter Stems.
Johannes Roberts’s prequel ultimately remains buried by its indifference to unchecked corporate power.
Ridley Scott’s tale of greed and revenge practically begs for melodramatic excess.
Throughout The Humans, Stephen Karam orchestrates the highs and lows of a family reunion with Chekhovian subtlety.
As we re-enter the circuit of in-person film festivals, the peculiarities of the physical world feel just as alluring as the movies themselves.
It’s the hints of danger, employed like ghost notes in a shuffling rhythm, that lend the film its sneaky depth of feeling.
tick, tick… BOOM! never quite resolves that tension between well-attended wake and intimate memoir.
Zeros and Ones is the unwelcome spectacle of a bad boy attempting to apologize for his badness.
The First Wave successfully emphasizes how people’s emotions were whipsawed by an unprecedented crisis.
Mike Mills discusses working with Joaquin Phoenix and Gaby Hoffmann, the themes that unite his films, and more.
Though flattering through and through, the film is ironically removed from the charms of the worshipped original.
The film’s violent set pieces are imaginative, but as symbolic comeuppances for the victims’ sins they can feel forced, even moralizing.
Radu Jude discusses his approach to archival material and what it’s like to make a film under pandemic-related restrictions.