From a certain angle, 2022 could be seen as the year of satire. There spectrum was vast, from the “high-brow,” like Ruben Östlund’s Palme d’Or-winning…
It’s something of a fool’s errand to try to trace broad trends throughout a full festival lineup — most critics don’t see anywhere near the…
Icelandic director Guðmundur Arnar Guðmundsson’s Beautiful Beings is a brutal yet abundantly tender coming-of-age tale that examines how intergenerational trauma mars the friendships that teenagers…
Premiering at the 2022 edition of the Cannes Film Festival and dropping into U.S. theaters in the autumn, Jerzy Skolimowski’s EO was a film that…
Shot on location in New Mexico in early 2021, Pete Ohs’ Jethica is a kind of minimalist sunbaked noir that gradually transforms into something altogether…
Even in the seemingly endless combinations and reconfigurations of tropes that make up horror B-movies, there occasionally needs to be some new input. Dusty old…
When Rob Zombie’s House of 1000 Corpses was released in 2003 (following numerous distribution delays by its original producer Universal Studios due to objectionable content),…
A woman stands in the courtroom witness box, her face tensed, pained, and withdrawn, her hands clasping the railing before her, while the judge’s questions…
The past invades the future in Paul Owens’ Landlocked, a low-budget, minimalist horror drama that’s steeped in the nostalgic haze of VHS grain and childhood…
“READ ME”: a visage lit in orange glow, hands, bodies, hands caressing bodies, the twinkling lights of a Christmas tree, the two words blinking mutely from a…
While the ongoing Liam Neeson dad-action-movie concern has been producing ever more diminishing returns, over the last decade and change, just about nobody has so…
In This Issue: FEATURES: Morvern Callar (Lynne Ramsay) by Morris Yang // Kicking the Canon: The Devil’s Rejects (Rob Zombie) by Daniel Gorman FILM REVIEWS: Plane (Jean-François Richet)…
Quoth Christine Choy, the Oscar-losing documentary filmmaker, notoriously candid NYU professor, and pseudo-subject of Violet Columbus and Ben Klein’s The Exiles: “You know, the thing…
What makes a great writer? Romantics and bookworms might wax poetic about unparalleled emotional insight or the fearless plumbing of the human condition, but pragmatists…
The Boy, the Mole, the Fox and the Horse is quite naked in its ambitions to become the next classic British Christmas special — The…
Simply put: Julia Wu has established herself as one of the most consistent artists of the decade so far. The Australian-Chinese singer-songwriter has put out…
In only a few short years, writer-director John Swab has churned out a handful of low-budget features that have rarely risen above the mantle of…
The ’60s and ’70s were a highly politically-charged time for Italian cinema. The country’s neorealism movement chronicled working class lives in a post-WWII Italy — a newly…
From the first frame of Alcarràs, Carla Simón alerts the viewer to the integrality of the summery Catalonian landscape of her film. Within these windswept…
Based on Louis Bayard’s 2003 novel, Scott Cooper’s painfully dull The Pale Blue Eye imagines a fictional murder mystery featuring one Edgar Allan Poe (Harry…
Despite being arguably the popular genre of the classical era of Hollywood, the Western has faded over time into the background of mainstream cinema. The…