This festival is trying to push that baseline definition of the documentary at its most banal.
There’s something about the night that is beautiful, mysterious, and humbling all at once.
I’ve been fairly immune to Gossip’s infectious dance-punk, but with her new solo EP, singer Beth Ditto has put me completely under her spell.
El Bulli: Cooking in Progress needs more than scientific process to keep us hanging on.
It sounds like something Robert Riskin might have whipped up for Frank Capra.
Source Code packs, in dazzlingly virtuosic fashion, two mysteries in one.
No protagonist at True/False was more difficult to identify with than Joshua Milton Blahyi.
Amid the chokehold montages and extended conversations of the cast discussing and tiptoeing around homophobia, Greene’s film is imbued with empathy.
Lewis may have been a pioneer of the genre but he knows his movies are terrible and holds no illusions about his craft.
The recording of Sexsmith’s latest album, the workmanlike and pleasant Long Player Late Bloomer, serves as a loose framing device for the film.
Angelo Cianci’s farce takes the wrong things seriously and pokes fun of nothing worth laughing at.
Hula and Natan is so amusingly foul-mouthed that it becomes, in part, a study in the art of the comedic argument.
Michael Marczak’s At the Edge of Russia feels, in its early going, much like the work of a contemporary Romanian director.
Whatever Family Instinct may lack in authenticity, its flair is irresistible.
Autodidact Valérie Donzelli proves that she can make a better Tiny Furniture than Lena Dunham.
The film is a well-mixed assemblage of cacophony, rain, and detritus set in the Willet’s Point neighborhood of Queens.
Apparently, all that’s needed to quell class warfare in Service Entrance is a little home cooking, a peck on the cheek, and a cheesy line.
Well, Ferreira is finally making her proper stateside debut this month with a five-track digital EP.
Sex isn’t just a setting here the way that, say, ballet is just the setting of Black Swan.
Alain Corneau’s 1979 film Série Noire is considered to be one of the best movies based on Jim Thompson’s work.