Stephen King adaptations are as popular and generic as ever, despite claims of some kind of renaissance, and this latest iteration of Pet Sematary is hardly an exception.…
Perhaps setting itself up as a corrective to the rest of the DC comics films, which are apparently perceived to be overly dark and serious,…
The Dirt is a terrible movie. Adapted from Mötley Crüe’s group-authored autobiography of the same name, Jeff Tremaine’s film is This Is Spinal Tap without the self-aware irony,…
Released in 1967, Arthur Penn’s Bonnie & Clyde was the New Hollywood urtext: young, sexy, fast, and violent. It’s impossible to view The Highwaymen as anything but a…
Suburban Birds opens with an iris shot, a formal gesture that likens it to Feng Xiaogang’s recent I Am Not Madame Bovary. Quickly, Qiu Sheng’s film…
The titular ‘land’ that’s ‘imagined’ in Yeo Siew Hua’s Golden Leopard-winning debut film manifests in two different ways, one explicitly physical (the ever-expanding continent of Singapore,…
The 48th edition of New Directors/New Films runs March 27th – April 7th. Here’s our first dispatch. Included — very much intentionally — in our second and…
It seems natural to react with bewildered laughter when watching Scanners. The sight of actors contorting themselves with pained screams and Dick Smith’s visceral special effects…
Frequently inscrutable and often enveloped in literal darkness, Andrea Bussmann’s Fausto offers the latest (cinematic) rumination on the foundational myth of man’s dealings with the…
Director Mark Jenkin’s Bait is a fascinating curiosity. As a drama, it’s fairly basic, but also mostly effective: Martin & Steven Ward (Edward Rowe &…
Belonging opens with a voice-over delivering an admission of guilt, one coldly articulated by Onur (Çaglar Yalçinkaya), as he hastily divulges the details surrounding the…
The 48th edition of New Directors/New Films runs March 27th – April 7th. For our first of two dispatches, we tackle the second feature from Canadian filmmaker Philippe…
Modestly assembled and expertly executed, David Wenham’s delightful debut feature Ellipsis conjures those occasions when human connection comes calling, often in spite of some general apathy. Employing a…
Ash Is Purest White begins with the blaring of a bus horn — a sound which bears striking resemblance to another, heard at the end…
Iranian writer/director Asghar Farhadi understands the nature of secrets and their revelations, that they rarely signal resolution and instead work to further complicate situations. Whenever…
Early in the second half of J.C. Chandor’s Triple Frontier, Ben Affleck’s character executes a South American cocaine farmer, lying on the ground, just moments…
A young man heads to Singapore in search of his mother’s family after his father, a successful ramen chef, dies. Gauzy flashbacks fill in his parents’…
Us begins with a sincerely spooky prologue taking place in 1986, when young Addy wanders away from her bickering parents at the Santa Cruz boardwalk and…
Stanley Kubrick’s final film is one of the least-sexy films ever made about sex. Libidinous, yes, and full of naked bodies in salacious motion, engaging…
As with 2010’s exceptional October Country, Michael Palmieri and Donal Mosher’s The Gospel of Eureka brings an intelligent, discerning empathy to matters of political, moral,…