Co-created by Nathan Fielder and Ben Safdie, the series asks us to get philosophical.
The film again proves that Lanthimos is a skilled director of blunt strangeness and surreality.
Cruella’s outward liveliness can’t mask the inner inertia it has as just another lifeless product assembled in a factory.
The film is brightly colored, inventively designed, and constantly flirting with the outright psychedelic.
Behind the film’s self-awareness and irony is a hollow emotional core.
Said I to my fellow Oscar prognosticator last week, “If Emily Blunt wins the SAG, then I don’t think we should sweat this.”
While impressive for its detailed and certainly imaginative world building, Maniac rarely dares to truly confound its audience.
The film’s florid screenplay affords Yorgos Lanthimos ample opportunity to assert his idiosyncratic worldview.
The latest from Yorgos Lanthimos, The Favourite, takes us to the early 18th century, when England and France are at war.
Golden Exits, the new film by Alex Ross Perry, a favorite of this festival, is an explosion of the director’s aesthetic.
The film sacrifices some of its innate appeal by making ham out of the supposed relics of a less enlightened era.
To those who’ve been relishing the shade Eric has been throwing at La La Land, I apologize, because I will not be taking Emma Stone to the library today.
The film is bound up in a referentiality that precludes the outpourings of emotion we come to musicals for.
Damien Chazelle movie-musical pastiche is eager to please those who might vote it into the AMPAS pantheon.
Woody Allen and Joaquin Phoenix’s collaboration on Irrational Man’s antihero is the closest the film gets to a saving grace.
After a while, the film’s sing-a-song-for-the-world vibe, so buoyantly optimistic at first, becomes grating and smug.
In dreams, too, Laura Dern wouldn’t also be passing through.
The film’s Hollywood skewering is constantly spoon-feed to us like strained bananas.
Alejandro González Iñárritu’s anti-critic harangue is petty coming from a writer-director whose spotty filmography has largely been met with critical praise.
Sony’s insistent to let fans have their webs and sling them too and the high-flying 4K Blu-ray does precisely that.