A Paul Greengrass movie is a lot like finding yourself stuck next to a talkative history professor on a plane. Well-meaning, passionate, and rambling, you…
Kiyoshi Kurosawa is our great purveyor of modern ennui, a chronicler of creeping existential dread as the world we have created now threatens to engulf…
What is “Buzz”? The murmur around a popular film at Sundance? The alarm from an angry bee, fly, gnat? The sultry purr of a sex…
Hope, director Na Hong-jin’s first feature in a decade, is also his splashiest film. It first premiered in competition for the Palme d’Or at Cannes,…
Only his second feature-length film after maɬni—towards the ocean, towards the shore (2021), Sky Hopinka’s Powwow People is the director’s least tangibly experimental project to…
In Haitian Vodou, “turning someone into a zombie is like putting them back into slavery… forever.” This is among the opening lines of Maya Annik…
Guy Moshe is an Israeli-American filmmaker. This, under normal circumstances, is not information pertinent to a review, but regarding his latest, The Fix, it’s tough…
If Los Angeles is the land of struggling actors languishing in food service — the sitcom Party Down plumbed this phenomenon for three seasons —…
“How can the same shit happen to the same guy twice?!” That’s a line spoken by Bruce Willis as NYPD officer-turned-Nakatomi Plaza hero John McClane,…
Summer is closing. The weather remains warm, but the chill of autumn whispers its hello with a breeze that reminds us of time’s passing. It…
It’s overselling Mayday a bit to suggest that it could have been made and released in 1987, when it takes place. That said, it’s rather…
There aren’t enough filmmakers, perhaps, still afraid of Virginia Woolf. Tina Gharavi, whose film I Am Nasrine was smuggled out of Tehran before being nominated…
Whether she was shooting her sexual experiences with lovers, the social and political climate of cultural feminism, or an ultimately fatal battle with ovarian cancer,…
Even when Jorge Luis Borges wrote screenplays, they weren’t necessarily “Borgesian” — not, that is, distilled into the particular pleasure of following one of Borges’…
“Consequently, Twenty-Four Eyes, which was made by Kinoshita Keisuke in 1954, is clearly a Japanese film,” says Nagisa Oshima, “but the Twenty-Four Eyes made in…
Coyote vs. Acme’s journey from Warner Bros. tax write-off to Ketchup Entertainment theatrical release is well-documented. What the three-year-plus saga illuminated, more than anything, is…
The sitcom was never meant to be real; its unreality was its greatest attraction, peering back through the façades of modern suburbanity at an audience…
Adapted from Peter Heller’s novel of the same name, The Dog Stars is set in a world that’s been decimated by a global pandemic that…
Mumblecore never went away. Arguably the most influential movement in American cinema during the 21st century, it birthed careers for Mark and Jay Duplass, Greta…
Writing about Valeska Grisebach’s The Dreamed Adventure, critic Ali Karimnia observes that it is “a cinema that, rather than telling us what the world is,…
The Russo brothers are now a brand unto themselves. Whether helming as directors or solely producing, there’s a certain “offensively inoffensive” blandness that has characterized…