George A. Romero’s zombie movies have been doing something quietly subversive for a while.
The newly restored print of Fritz Lang’s gorgeous, disturbing, and sometimes absurd silent masterpiece is a revelation.
It’s getting harder for fictional characters to do something so outrageous that we can’t empathize with them.
Is Jessica Oreck, the writer-director of Beetle Queen Conquers Tokyo, trying to make a point about how modern life has alienated us from nature?
There’s a gravity to everything Ingrid Bergman says in this movie, and she has a grandeur that seems to come naturally, a statuesque hauteur.
Micmacs is not in the subtlety business.
The business was started when Al Mayles and his wife, Gillian, moved from the Upper West Side to Harlem five years ago.
Who could resist that? I thought. Well, apparently the answer is: me.
The film is laced through with enough wit and grit to keep its unabashed sentiment from getting gooey.
“The Vampires of Venice” is a distinct step down for the season after the triumph of the Weeping Angels two-parter.
The festival ended with its longest competition title, and it wasn’t even a complete film.
Watching these thoroughbreds go through their paces is enough to make this movie worth seeing.
Tender Son is pretentious, Gothic-tinged, and more than a little clunky.
Our video essay series examines various aspects of the show, whose finale airs on May 24.
What resonates most is the political context in which the filmmakers situate this twist on a father-son melodrama.
Joe Wilson: Great American, or greatest American?
The film was shockingly new when it was released in 1960.
If Poetry’s emotions are diffuse, Our Life’s are downright incomprehensible.
Xavier Beauvois’s Of Gods and Men is, no more and no less, a handsomely mounted French prestige picture.
Throughout, the filmmakers find inventive ways to tell us just enough about the main characters’ backgrounds.