Welcome to another episode of “A foolish consistency is the hobgoblin of little minds.”
Peter Ormrod’s only feature film is so modest as to seem designed to be stumbled upon rather than actively sought out.
The global economic maelstrom found a way to creep its way into the 47th edition of the festival—but only for a moment.
Every year, a lovely spa town awakens from its long sleep to welcome hundreds of mostly young, backpack-toting film enthusiasts.
The festival provides no real leitmotif or focus, leaving plenty of room for personal interpretation, and sometimes wonder.
Here’s a conspiracy theory for you: Ishtar is intentionally terrible.
The New York Asian Film Festival has emerged as quite possibly the most sheer fun of all the major New York film festivals.
How to sell a Keira Knightley period romance and still distinguish it from every other Keira Knightley period romance?
Human rights activist David Kato’s dynamic experience haunts much of Call Me Kuchu.
The operative sensibility of Rainer Werner Fassbinder’s cinema is panoptical.
Some of cinema’s most awesome sights are those that envision our future.
Sister is another meditation on the viewpoint of children in an alienating adult world.
Color of the Ocean is sincere, well-crafted, and nice to look at—it just isn’t especially vital.
George Gage’s Bidder 70 is a highly inspirational account of American climate activist Tim DeChristopher.
Will Egypt’s democracy, regardless of which constitutional model it’s styled after, be carried out to the end?
Maya Entertainment wants YOU to see It’s a Disaster, a new comedy releasing soon from the indie distributor.
At this year’s Los Angeles Film Festival, there are a few core themes that bind together a number of the films.
Swoosh! Bang! Crash! Pow! Smush! Whump!
With Bitter Seeds, director Micha Peled completes his “globalization trilogy.”
Salaam Dunk is a genial high-five to team sport as a route to girl power and a sense of community.