Mohammad Rasoulof and Abbas Kiarostami’s films ask fundamental questions without proffering easy answers.
A blackly comic performance by Colin Farrell provides the emotional anchor for Yorgos Lanthimos’s film.
With Redoubtable, Hazanavicius co-opts Godard’s personal life for cheap prestige-picture sentiment.
Happy End is an empathetic portrait of personal grief as it’s experienced in a desensitized first-world society.
The first two episodes of the new season are largely preoccupied with sowing the seeds for later developments.
It probes the disconnect between worthiness and success in a world where sizzle almost always trumps substance.
The episode tells a story of a relationship tragically governed by imbalance of power.
The film feels lived-in despite its glaringly mannered dialogue and charmingly eccentric characterizations.
The flexibility of French director Bruno Dumont’s spiritualism makes the film compelling.
Showrunner Steven Moffat’s plotting ingenuity is on full display throughout the episode.
What to make of the shocking results of this week’s episode of RuPaul’s Drag Race?
Claire Denis’s Let the Sunshine In is an exquisite romantic comedy whose laughs are sad and whose sadness is funny.
Okja suggests that the sarcastic humor of South Korean auteur Bong Joon-ho’s best films doesn’t translate well.
The meticulousness of Haynes’s execution overburdens his work’s conceptually exhilarating sense of wonder.
Desplechin’s Ismael’s Ghosts is a lucid, free-form sprawl of stories nested within stories.
Maybe the ultimate project of The Americans is to recognize its characters’ collective disillusionment.
The episode ties together multiple plot threads by connecting them all to the fate of See Food.
The notion of transcendence runs through the latest episode of American Gods as a thematic thread.
Unfortunately, the episode takes a turn for the ludicrous as the explanation is revealed.
As this week’s episode illustrates, we’re in a completely different era with what may as well be another language.