Ryusuke Hamaguchi’s intimate epic of friendship between women, Happy Hour, was my favorite film of 2016, so needless to say Asako I & II,…
Diamantino, the brainchild of directors Gabriel Abrantes and Daniel Schmidt, comes out guns-a’-blazin’, with frenetic, intertwining, impossible-to-link story threads listed-out via voice-over and referencing…
“Sensuous,” “gorgeous, “evocative” — such descriptors are perhaps too easily applied to Ash Mayfair’s The Third Wife, a film that, from its opening frames,…
More generationally distinctive than his recent output, Olivier Assayas’s latest, Non-Fiction, engages with a specific vein of cultural discourse regarding technology: e-books as a…
In the year 2019 we have ourselves an honest-to-goodness, totally authentic film maudit, Brian De Palma’s new whatsit Domino. Barely completed, abandoned by its…
The Souvenir is that rare kind of great film, one that teaches you how to watch it as it goes on. There’s a constant…
‘Batman of the barrio’ makes for an enticing logline, and Ben Hernandez Bray’s El Chicano presents itself as “the first Latino superhero movie.” But…
“You know, I grew up around black people my whole life. I mean, if the truth be told, I probably know n***** better than…
DC and Marvel have been publishing special, out-of-continuity comic books for decades, usually (but not always) under their respective “Elseworlds” and “What If?” banners.…
The Lonely Island crew has a new project, a bizarre inside joke that has spawned a 30-minute Netflix special, awkwardly titled The Unauthorized Bash…
As well all know, 20th Century Fox has been purchased by Disney, and the X-Men are now under new management, presumably to be re-exploited…
It’s fascinating to watch a movie come out and gross hundreds of millions of dollars, while also barely making a blip on the American…
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…
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,…