If Ariana Grande’s Sweetener was the feel-good pop project of the (late-ish) summer, focusing on the catharsis of newfound love (at the time…), then Robyn’s…
Genre fans tend to experience a palpable delight the first time they lay their eyes on a new classic, getting them thinking about the first time they…
In an effort to reboot our music coverage, In Review Online has launched monthly features devoted to reviewing new album releases. One such feature is What Would…
While bigscreen superheroes may stoke our fantasies of being something greater than we are, seeing more empathetic characters in that same space allows for…
Let the Sunshine In is an exquisite romantic comedy in part because its laughs are sad and its sadness is funny. Claire Denis isn’t…
In Another Country signals something of a shift in the approach of Hong Sang-soo’s films, one in which the director’s generally economically modest production…
“Things repeat themselves with differences I can’t understand,” proclaims Oki (Jung Yu-mi), the director of the fourth, and final, film-within-the-film that comprises Hong Sang-soo’s…
Gareth Evans made his name with martial arts films, but based on how shockingly violent The Raid and The Raid 2 are, it’s not…
Silence can be used as an effective tool in any film; it helps set the tone of a scene, builds tension, and can truly convey the intensity of a…
For our final dispatch from the 2018 New York Film Festival, we take a look at each of the features from the fest’s avant garde-themed…
For Hong Sang-soo, whose working method and steady output has been, and continues to be, (relatively) unburdened by production constraints, the notion of artistic…
True to its title, 2010’s Hahaha is very funny — amusing in ways that might even cloak its generous, searching ambition. The film follows two skirt-chasing,…
Lengthy runtimes have never been totally essential to Hong Sang-soo’s work, but there is a certain quality intrinsic to his approach — how he…
As with many Hong Sang-soo films, 2009’s Like You Know It All deliberately repeats itself: Goo Kyeong-nam (Kim Tae-woo), an arthouse director, goes on two…
Hong Sang-soo’s 2009 film Night and Day marks many firsts for the director, including his first film shot on digital and his first to…
As perhaps the most narratively straightforward Hong Sang-soo film to date, albeit one still prone to a certain structural mischievousness, Woman on the Beach modulates its conceptual restraint…
The first striking thing about 2006’s Woman Is the Future of Man is its blunt exhibition of various cruel and brutal sexual behaviors, which…
In 2005’s Tale of Cinema, as in most of Hong Sang-soo’s works, structure is part of the story. The film is split into two…