The director and actor discuss how the film’s main character progressed from Denis’s imagination to Pattinson’s realization.
High Life is a vision of the future as bleak and feverish as director Claire Denis’s 2013 thriller Bastards.
Damsel ends up feeling like a festival-land breakout comedy short dragged out for two interminable hours.
Lionsgate outfits one of the most original American crime films in ages with a gorgeously gnarly transfer.
Good Time is scrupulously designed to address how the urban poor interact and negotiate with city services.
One of the most beautiful and mysterious of all existentialist adventure films receives a deservedly lush and subtle transfer.
Today, A24 released a new trailer and poster for the Josh and Ben Safdie’s new film.
Good Time is at its strongest when it keys its intoxicating aesthetic to Robert Pattinson’s performance.
Throughout the film, Werner Herzog appears to be straining to impersonate his idea of classical studio craftsmanship.
The Lost City of Z links every weathered look that Percy Fawcett throws to the heart of his spiritual yearning.
Brady Corbet reaches for a dreary self-importance akin to Michael Haneke’s The White Ribbon.
For these family units, incest seems the natural endgame of a merit system based on pernicious nepotism and inveterate ass-kissing.
Robert Pattinson’s stare is almost thousand-yard enough to make the film’s sense of tragedy feel downright Greek.
A coherent characterization of Robert Pattinson’s striving schemer is nowhere to be found in this pedestrian period piece.