Director Joshua Marston’s Come Sunday exists in a vacuum of blandly expositional generality.
Underneath the impersonal formal beauty and good acting is a familiar moral about self-imposed limitations.
The season provides a decent fix for your Aaron Sorkin cravings and (hopefully) signals greater things yet to come.
The Forgiveness of Blood is essentially a prison film where the bars are age-old customs and contradictory traditions.
Understanding Screenwriting #93: The Deep Blue Sea, A Separation, Pauline Kael, & More
Terence, meet Terence.
Marston doesn’t take the easy road. Perhaps that’s what makes him—and his films—so compelling.
The Albanian-set The Forgiveness of Blood unfolds as a parable about the follies of blood feuds.
Miss Bala wears on its sleeve that its resilient heroine represents the Mexican body politic.
For a project that aims to be so location specific, most of the segments seem largely isolated from their nominal settings.
Next to Men With Guns, this may be the best film about a Latin American crisis directed by a white guy.
From one part of the world to another, Maria Full of Grace swirls with movement and stirs us with its torrents of feeling.