The original film hasn’t aged as well as other Stephen King adaptations from the era, so it will come as a surprise to no one that a remake is on the horizon.
Writer-director Andrew Haigh’s Lean on Pete exudes a quiet but self-evident sense of struggle.
We spoke to Seimetz about achieving a “live wire” atmosphere on set.
The only saving grace of the film’s mostly recycled horrors is how they deepen Michael Fassbender’s android David.
So Yong Kim’s Lovesong manages a convincing articulation of a complex friendship between two women.
Celia Rowlson-Hall’s Ma has had its subtext dragged kicking and screaming to the surface by its writer-director.
Despite its punctilious aesthetic of detachment, The Girlfriend Experience exerts a sneaky emotional pull.
The film conjures a menacing perspective on how the titular occupation hulls out empathy and cultivates an unsettling strain of cynicism.
With The Sacrament, director Ti West has bitten off more of a premise than his classically modest barebones approach to horror movies can presently chew.
It labors under the illusion that Sub Pop memorabilia is adequate substitute for the honest evocation of a creative subculture and the personalities of which it’s composed.
This Blu-ray disc’s disappointing sound mix is still not enough to detract from the film’s gleeful mumblecore-assaulting pleasures.
The Police Officer’s Wife had easily the most walkouts of any film I saw at the festival.
Adam Wingard’s You’re Next brazenly merges the home-invasion thriller with the dysfunctional family dramedy.
Amy Seimetz’s intoxicating slice of genre revisionism earns its “neo” prefix, envisioning a brightly sinister world where desperation is the new normal.
Shane Carruth’s Upstream Color is lush, rhythmic, and deeply sensual, a film of exceptional beauty.