Locarno Film Festival 2019: Technoboss, Echo, & A Voluntary Year
Interview: J. Hoberman Talks Make My Day, Ronald Reagan, and ‘80s Movie Culture
Review: Vita & Virginia Leaves the Nuances of a Love Affair to the Imagination
Review: Ready or Not Ribs the One Percent with More Laughs than Horror
Review: Jawline Takes a Measured Look at Social Media Stardom
Review: Jay Som’s Anak Ko Embodies Bedroom Pop As an Emotional Travelogue
Review: Bon Iver’s i, i Battles Back Against the Dark
Review: Sleater-Kinney’s The Center Won’t Hold Represents a Band in Flux
Review: The Hold Steady’s Thrashing Thru the Passion Is a Satisfying Head-Scratcher
Review: Clairo’s Immunity Is a Starkly Vulnerable and Inviting Debut
Review: Remnant: From the Ashes Mistakes the New for the Noteworthy
Review: The Apocalyptic Roguelike RAD Is More Fun in Name Than in Action
Review: In Fire Emblem: Three Houses, Morality and Tactics Walk Hand in Hand
Review: Metal Wolf Chaos XD Plays Like a Vicious Indictment of Our Present
Review: Hamsterdam Frustratingly Throws Rhythm and Precision to the Winds
Review: On Becoming a God in Central Florida Is a Cultish Portrait of Capitalism
Review: Carnival Row Is a Haphazardly Stitched-Together Genre Pastiche
Review: Season Two of Succession Paints a Humanizing Portrait of the Billionaire Class
Review: The Righteous Gemstones Is an Uneven but Compelling Study of Faith
Review: The Terror: Infamy Excels as an Indictment of American Oppression
The 100 Best Sci-Fi Movies of All Time
Interview: Julius Onah and Kelvin Harrison Jr. Talk Luce’s Ambiguities
The National and the Global Intersect at the 2019 Jerusalem Film Festival
Watch the First Trailer for Martin Scorsese’s The Irishman
Disney’s Mulan Live-Action Remake, Starring Yifei Liu, Gets Teaser Trailer
Taylor Swift Drops Star-Studded, Pride-Themed “You Need to Calm Down” Video
Mykki Blanco Is a Trans Joan of Arc in Madonna’s “Dark Ballet” Video – Watch
James Gray’s Ad Astra, Starring Brad Pitt, Gets Official Trailer
Review: Fridrikh Ermler’s Fragment of an Empire on Flicker Alley Blu-ray
Review: Jane Campion’s An Angel at My Table on Criterion Blu-ray
Review: Jacques Becker’s Touchez Pas au Grisbi on Kino Lorber Blu-ray
Blu-ray Review: Alfred Sole’s Alice, Sweet Alice on Arrow Video
Blu-ray Review: Alan J. Pakula’s Klute on the Criterion Collection
Review: Moulin Rouge! Is a Great American Musical for the TikTok Generation
Interview: Kate Burton on Coriolanus in Central Park and Her Path to Success
Review: In Mojada, Immigration Is an Ill-Fitting Costume for a Modern-Day Medea
Review: Frankie and Johnny in the Clair de Lune Shines a Light on the Vagaries of Love
Interview: Terrence McNally on the Timeless Frankie and Johnny in the Clair de Lune
Interview: Paul Tremblay on Growing Things and the Hope of Horror Fiction
Review: Cari Mora Luridly and Bitingly Plumbs Man’s Capacity for Evil
Review: The Beatles Through a Glass Onion: Reconsidering the White Album
Review: Bret Easton Ellis Uses White to Explode Our Pretenses of Dignity
The soft colors, graceful movements, and clean lines together embody the ineffable beauty of life on Earth that is one of the film’s main themes.
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