The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
The film pulls back the veil on Vonnegut to show how a gloomy dissatisfaction brooded underneath his quippy surface personality.
The film’s quietly uncanny narrative wondrously depicts not only a dying man’s reflection on his life, but also the very nature of Hawaii itself.
Encanto does a fine job of conveying the notion that even in the best families, it can take considerable work to keep them together.
As pure visual spectacle, the film is enthralling, but its expedition into what makes climbers tick struggles to get off the ground.
Robert Greene discusses how he merged the processes of drama therapy and filmmaking, how he avoided retraumatization, and more.
C’mon C’mon admirably doesn’t indulge in heartstring-tugging pathos, but the film suffers from a certain shapelessness.
Uppercase Print metatextually insists that we not be taken in by new, more sophisticated methods of obfuscation.
The film’s approach is completely subsumed by the importance of the Mayor Pete persona as the means and ends of the candidacy.
Rarely has a film used its foreknowledge of a happy ending as a reason to remain so uncritical and incurious of its central subject.
Red Notice is a lifeless pastiche of various blockbuster action-movie styles from the past four decades.
The end of the world may never have had less impact than it does in Miguel Sapochnik’s Finch.
Accuse Borowczyk of perpetrating a pervy male gaze, but never accuse him of repressing anything.
Dangerous betrays the promise of its title by playing things extremely safe.
The film is a knowing glimpse at how micro tensions affect macro power plays, from pissing contests between men to sexual violations.
Understandably fixated on empowerment, Blerta Basholli glosses over stickier issues which might complicate her main character’s heroism.
At the very least, these 13 weird movies can hold your attention, and deliver decent chills, especially with a nice buzz and low expectations.
Hogg and Swinton Byrne discuss what changed between production of the film’s two parts in terms of casting and more.
At once bloated and rushed, Eternals suffers from frequent lurches in tempo that dispel its occasional moments of tranquil thoughtfulness.
Matthias Schweighöfer never imbues the act of turning the dial on a combination lock with tension, intrigue, or variation.
Robert Mitchum is the greatest Hollywood actor to ever pretend not to give a shit about acting.