Whatever they do next, we hope that Daniels keeps it real.
Martin McDonagh’s film is a mordantly funny dark fable about men’s inability to work together for the betterment of society.
Golden Exits, the new film by Alex Ross Perry, a favorite of this festival, is an explosion of the director’s aesthetic.
The film is the finest balance yet of Martin McDonagh’s bleak sense of humor and offbeat moral sincerity.
The revival of Martin McDonagh’s The Beauty Queen of Leenane is a funny and crushing production.
This hodgepodge of a crime film looks great on Sony’s Blu-ray, but the package offers only crumbs in the extras department.
This is a rogues gallery that runs the gamut from clingy patient to schizo serviceman.
In places, McDonagh’s follow-up to In Bruges evokes Charlie Kaufmann’s more methodically thought-through structuralist exercises.
No, it’s not just you.
Sure, Martin McDonagh is still pushing the envelope—but to where?
Martin McDonagh is the Quentin Tarantino of the theater, which is descriptive shorthand for something quite extraordinary.
Martin McDonagh is far too pleased with stuffing his characters’ mouths full of overly written speeches and one-liners.
The experience afforded by a collection of this sort demands something of a reexamination of one’s relationship to the medium.