An angry young girl runs away, leaving behind an affluent but troubled home life to throw in her lot with unsupervised older teenagers and low-level…
If one is to survey a slate of HBO’s flagship programming — say, The Sopranos, Succession, Boardwalk Empire, Game of Thrones, and now House of…
In contrast with the high-profile and ostentatious trappings of Everything Everywhere All At Once, which enmeshed the idiosyncrasies of genre with patent identity politics, Kit…
Am I OK?, the directorial debut of Tig Notaro and Stephanie Allynne, is a simple, mostly familiar coming-out story that follows Lucy (Dakota Johnson), a…
ESSAYS THE IMAGE AND THE AFTERGLOW: JANE SCHOENBRUN’S I SAW THE TV GLOW FEATURE BY: Frank Falisi THE JOY OF THEIR MAKING: THE FILMS OF…
“The island is safe, except for those who aren’t invited.” This quote from one of the natives on the Italian island where a rich and…
Cinematographer and film critic Carson Lund moves to the director’s chair with Eephus, a laid-back comedy following a ragtag group of men as they play…
By the time Alfonso Cuarón (Y Tu Mamá También) took over from Chris Columbus to direct Harry Potter and the Prisoner of Azkaban, the third…
Babatunde Apalowo’s feature debut, All the Colours of the World Are Between Black and White, is a moving portrait of gay desire, class, and masculinity.…
Patrick Dickinson’s Cottontail is an unusual type of ghost story. Its apparitions, such as they are, appear mostly in flashbacks, half-remembered tales, and, most prominently,…
If the recurring discourse cycles of online spaces, namely on Twitter, are to be believed, we are in for some seriously prudish times. Every so…
In his seminal 1978 film Dawn of the Dead, George Romero takes a few minutes to detail the final gasps of a television station trying…
The specter of Alfred Hitchcock’s Vertigo (1958) looms large over Chantal Akerman’s The Captive (2000). At times, it’s to such an extent that it feels…
One of the more adorable touches in Pablo Berger’s animated film Robot Dreams comes early on, when our lonely dog protagonist’s apartment is revealed to…
The title of Maurice Pialat’s 1974 film La Gueule Ouverte is reminiscent of something Francis Bacon said about his paintings of the pope screaming, reacting…
There exists a sort of spectrum in female sports-centric films, with campy, comedic takes like Bring It On laying claim to one end while high-drama,…
With obituaries for theatrical filmgoing being filed on an almost weekly basis, it’s worthwhile to recall that we’re but six years removed from a phenomenon…
There is perhaps no genre more worked over, commented upon, or deconstructed than the slasher; that most basic of horror staples has engendered all manner…
All We Imagine as Light “This city takes time away from you,” says one of the seven disembodied voices introducing us to the wide-awake-at-night Mumbai…
The degree to which actors can elevate unexceptional material by their mere presence is difficult to gauge. After all, plenty of indifferently conceived star vehicles…