Kurt Wimmer’s mirthfully overwrought Children of the Corn, a revamp of one of horror’s longest and least-consequential franchises, is more fun than it should be.…
Creed III continues to mirror the trajectory of its parent Rocky franchise. The first one was a dare-you-say transcendent recapitulation of the original film’s working-class…
In This Issue: FEATURES: Kicking the Canon: Gang of Four (Jacques Rivette) by Daniel Gorman FILM REVIEWS: Creed III (Michael B. Jordan) by Matt Lynch // Palm Trees…
As a film title, God’s Time looks and sounds a lot like Good Time, and the similarities don’t end there. Writer-director Daniel Antebi’s tale of…
Adapted from Claire Keegan’s novella Foster, out for over a decade in the author’s home Ireland but only just hitting U.S. shelves at the end…
Luis Buñuel’s Los olvidados, released, rather perfectly, at the midpoint of the century, is perhaps one of the most uninviting kickoffs to a director’s second…
Classified as a documentary in the Berlin festival catalog, Tatiana Huezo’s new film The Echo is more accurately clarified as a scripted film shot on…
In experimenting with narrative in the cinema, we take on a capacity for expression that currently has no real affinities or structures. The imagination that…
With Notes from Eremocene, experimental documentary filmmaker Viera Čákanyová rounds off her informal “post-human trilogy” comprising 2019’s FREM — a futurist meditation on the Antarctic…
Dancing Queen, the third theatrical feature by Aurora Gossé, who has already made a handful of domestic Norwegian TV series and shorts, boasts a very…
It’s arguably a Sisyphean task to adapt Henry James’ late work to the screen, and in particular his 1903 novella The Beast in the Jungle.…
In This Issue: FILM REVIEWS: in water (Hong Sang-soo) by Ryan Swen // Afire (Christian Petzold) by Ryan Akler-Bishop // Music (Angela Shanelac) by Daniel…
Writer-director Christopher Landon has made a career out of taking some of the most tired and shopworn genre plots imaginable and infusing them with a…
A pop star has to store a number of secret weapons in her utility belt. Lots of people can sing and dance, but what sets…
Very loosely inspired by a colorful real-life incident that sadly didn’t end well for the animal in question, Cocaine Bear is a period horror-comedy that…
In This Issue: FEATURES: Berlin International Film Festival: Samsara (Lois Patiño) by Ryan Akler-Bishop // Inside (Vasilis Katsoupis) by Ryan Akler-Bishop // Bad Living /…
In Starboard Wine, Samuel Delany proposes that “we need images of tomorrow, and our people need them more than most.” Queer life, as it were,…
“Art is for keeps,” the protagonist of Vasilis Katsoupis’ Inside proclaims, just shortly before finding himself condemned to an art-laden torture chamber. Played by Willem…
If the camera produces an impression of a visualizable and material reality, how can the apparatus of cinema stand in for an abstract and intangible…
Premiering in Berlinale Forum, a space reserved for “test[ing] the boundaries of convention,” Yoo Heong-jun’s Regardless of Us will inevitably elicit comparisons with the works…