Fede Álvarez’s The Girl in the Spider’s Web suffers from a compulsion to be capital-C cool.
One of last year’s most haunting and divisive films receives a gorgeous transfer that’s perhaps appropriately light on supplements.
James Baldwin’s writing abounds in what’s missing from director Raoul Peck’s The Young Karl Marx.
The film arrives at a place of qualified peace that cauterizes the emotional wounds of Anderson’s cinema.
The trailer for Paul Thomas Anderson’s eighth feature-length film dropped less than 30 minutes ago and cinephiles are already frothing at the mouth.
Nothing more than leftwing exploitation cinema, a cheap thriller dressed up in the guise of a social-justice exposé.
The film’s educational impetus is to announce to the world that even picture-perfect Norwegians continue to pay a heavy price for the horrors of WWII.