Where 2014’s Godzilla tried to take its cues from Ishiro Honda’s iconic 1954 introduction to the character, the new Godzilla: King of the Monsters skews…
SoundCloud junkies Paul Attard and Joe Biglin run down some rap releases from the months of March and April in the latest What Would…
“Things are changing,” William Basinski told Pitchfork in 2012. “If the world ends on December 21, I’ll be perfectly happy with that. Who knows…
The Professor and the Madman arrives with an awful lot of baggage for such a modest, unassuming movie. As detailed by Nick Shager in…
Amy Poehler’s Wine Country barely qualifies as a movie – it’s essentially a vacation slideshow featuring a who’s who of industry funny women. Much like Alexander…
Chinese filmmaker Lou Ye’s The Shadow Play is a vicious work that descends into the depths of corruption in both a private enterprise (the…
Lou Ye’s 2014 film Blind Massage marked a transition for director, one that took him into broadly more commercial territory for the first time.…
Despite Lou Ye’s reputation for pushing the boundaries of Chinese censorship guidelines – due to his often frank and incisive takes on politics, gender,…
Love and Bruises, which Lou Ye made during his five-year, government-imposed ban from filmmaking in China, is a tale of l’amour fou set, appropriately…
A film built upon gay male hypersexualization overlaid with some hamfisted prose, Spring Fever turns the sadness of being gay and Chinese into a…
There’s something clunky about the title John Wick Chapter 3: Parabellum. Parabellum means “prepare for war”, and this third entry in Keanu Reeves’ saga…
It’s probably safe to say that Sylvia Chang’s Love Education is the kind of film that is impossible to get made in America at this point…
Lou Ye’s Summer Palace is an exasperating experience, full of interesting ideas and an incendiary political backdrop but falling victim to clichés of poeticized romantic…
Purple Butterfly is a film of dreamy realism, sometimes insoluble and suffused with a haze that is, at once, sepulchral yet sultry — a film…
The year 2000 was a watershed year for Chinese-language cinema. Milestones like Crouching Tiger, Hidden Dragon and In the Mood for Love and Yi…
The most striking aspect of Weekend Lover, the directorial debut of Sixth Generation Chinese filmmaker Lou Ye, is its palpable sense of existence as…
The literal translation of Don’t Be Young’s Chinese title, “Wei Qing Shao Nu,” means “Emotional Young Lady”— and it is, in many ways, a more…
After a first encounter, Chinese filmmaker Lou Ye seemed ripe for being written off as a Wong Kar-wai copycat — at best an adept…