Few would argue against The Tree of Life being one of the very best films of the year, but it remains the biggest wild card of awards season.
On New Year’s Day, Destroyer delivered what was either a belated Christmas present or a really early one.
Since Hoover ran the Bureau for fifty years, there is a lot that is left out, enough to make another film.
For all the similarities between these two posters, it’s important to note that their central logos are fundamentally opposite.
Payne’s films don’t have the distinct visual styles of those by Quentin Tarantino or Wes Anderson, but they’re quickly recognizable just the same.
The “romp” nature of this episode is apparent right from the start, as the teaser opens with a bang—literally.
“4 Tears” is a bravely simple track that feels like a little step forward for Ocean.
Born to Lose” is only differentiated from the duo’s established sound by its far slicker production.
The broth is only lukewarm.
Don’t let those pretty faces fool you.
Ramsay puts the art-house crowd though a titillating wringer in her contraption-like parental-dread thriller.
Cahill and co-writer Brit Marling struggle in vain to foreground the thematic significance of their film’s novel main conceit.
“Born to Die” is intended to be a maddening, contradictory, and gorgeous riddle.
As director, she’s asking herself to be more than the vengeance monster of “Paparazzi” or the fame monster of “Bad Romance” or the mother monster of “Born This Way.”
In a sense, the posters are highly successful, as they very accurately communicate the text, weaknesses and all.
As longtime readers of this column know, I love shaggy dog stories.
The poster is an intentionally drab pseudo-fusion of a milk carton ad and a supermarket service flyer.
Time in writer-director Evan Glodell’s Bellflower is a linear path to a pitilessly bleak emotional abyss.
It seems strangely appropriate that Cameron Crowe’s upcoming We Bought a Zoo is scored by Sigur Rós frontman Jónsi
And you thought baseball was a slo-o-o-ow game.