Day one of the music portion of SXSW marks the exodus of tech geeks and hustling entrepreneurs from the fest.
The Walking Dead is often at its most compelling whenever it stresses the relative silence that’s taken over the world.
“Role-Play” features the best performance of Lena Dunham’s career.
Instead of finding one consistent tone and sticking to it, Serge Bozon allows the wildly hilarious and the grimly serious to uneasily coexist.
Ukraine Is Not a Brothel ultimately exists in a representational space similar to the rad-fem tactics of Daisies or, even, Spring Breakers.
It understatedly teases the imagination with new possibilities for how The Walking Dead will explore the psyches of its characters.
“Flo” benefits enormously from Becky Ann Baker’s reliably lucid and moving performance as Hannah’s mom, Loreen.
True/False Film Fest 2014: The Vanquishing of the Witch Baba Yaga, Manakamana, & Concerning Violence
To call Jessica Oreck’s The Vanquishing of the Witch Baba Yaga “hypnotic” would be too easy.
Rich Hill is poverty porn, and this isn’t simply because the film examines poverty.
The Notorious Mr. Bout romanticizes rather than humanizes its rather thorny subject matter.
One gets the sense that Lee’s work is being used here as an explicative tool for theoretical engagement and not the other way around.
The drama remains appealingly off-kilter for the most part, but Me and You is not without familiar histrionics.
Tying the episode’s two main storylines together is a collective sense of yearning manifesting through the different wish-fulfillment fantasies.
As an amusing cameo by Patti LuPone illustrates, Hannah often resembles a jingle salesman.
Intruders remains a consistently entertaining and surprising sophomore effort.
Papusza gets a bit caught between its ethnographic aspirations, painting a people in thick brushstrokes that are rich on lore.
Jeon Kyu-hwan’s The Weight often suggests a very sick joke that somehow concludes with a shaggy-dog variation of “and you think you got problems?”
Professional uncertainty sparks the lithe narrative of Hong’s latest wry relationship comedy.
Lars von Trier’s pretenses of self-interrogation and cross-examination avail themselves as especially useful when considering his work.
If this year’s Best Actor race is all about which nominee brandishes the most compelling story, then Christian Bale faces some mighty long odds.