The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
Though eerie and quietly deadpan, the film circles its grab bag of themes for so long that it also becomes tedious.
The ’80s haunted this year’s Polish Film Festival, which is billed by its organizers as one of the oldest film events in Europe.
Julia Ducournau discusses her approach to filming bodies and her reimagining of foundational texts to build a modern mythology.
The title is an assurance that the most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
Zulueta is keenly aware of the agonies and the ecstasies inherent in the pursuit of pure rapture.
Cary Joji Fukunaga’s film inadvertently confirms that Bond is best when the simpler, more savage pleasures prevail.
The film circles a thorny premise, which makes it all the more disappointing that it results in a conventional clinch.
There’s a haunting beauty to Tatiana Huezo’s depiction of the gradual cross-contamination of childhood innocence and criminal aggression.
With Theater of Blood, Vincent Price was allowed to become an unexpected ringmaster of a kind of kitchen-sink Grand Guignol.
What’s absent here is the murderous lust for power that dovetails with Macbeth and Lady Macbeth’s lust for each other.
Swamy Rotolo’s face is rife with the ambiguities that the film’s narrative lacks once it pivots into thriller mode.
Both films come from a period in Chabrol’s filmography that finds him moving away from the naturalism of his early New Wave films.
The actor discusses how he found the physicality of his character and the difficulties and joys of doing verbal comedy in German.
If ever the world needed to be reminded of cinema’s world-making possibilities, it’s now.
Birds of Paradise lacks the nuance and finesse needed for its story to really take flight.
Riz Ahmed discusses art as therapy and what it’s like to play a character who parallels his personal life and history.
The film’s devotion to the quotidian aspects of a mythical small-town western life is nearly religious.
The emotional planeness of the film’s aesthetic too frequently robs all the cathartic eruptions of emotion of much of their power.
The film looks at times like a stiff-jawed period piece, but it ripples underneath with a prickly modern sensibility.
The film effectively immerses us in the wrenching details of Amin’s story, but it keeps us just a bit too far removed from the man himself.