Film is a phantom, but a living one.
The film breathes with the intimacy of slow and purposefully written correspondence between two friends and confidants.
Just about everyone plays second fiddle to the costumes and set design that are Taymor’s trademark.
Souvenir, Souvenir, with its sharp, rapid edits between faces and bursts of sudden color, delights in dissolving people over animals and vice versa.
A film like Certified Copy explodes truisms about acting.
Ferguson’s approach mostly focuses on facts, expert opinions, concise explanations of complex concepts, and tough probing of authority figures.
Another season, another round of Brit transfers
If there is a thread running through some of this year’s festival, it is the acceptance of the enigmatic in human beings.
Ahh, baseball! The invigorating thrill of freshly cut grass, the sweet pop of leather and oak on a summer day!
It’s official, say critics: Hong Sang-soo’s repeating himself.
“Hands and Knees” is very explicitly focused on the theme of secrets.
The gift my parents’ breakup gave me was that it made me a moviegoer.
Silent Souls is a ghost story, with flashbacks literally bringing the dead back to life.
The payoff is too light on revelation or insight to justify the skillful, fairly involving, tension-filled buildup.
References to films-as-dreams in film criticism have risen in inverse proportion to the actual dreamlike quality of the cinema, which is all but extinct.<
And the prize for most ironic title at the New York Film Festival goes to…My Joy.
Just as Fincher’s films process the world through computers, we process our world through computer screens too.
Film Socialisme is often simply beautiful to look at, full of inspired, elusive, and suggestive imagery.
As in most heist movies, we are sympathetic to the robbers.
On and on it trundles, and the busier it gets the duller it is.