Whether or not one ultimately finds David Fincher’s recent film Gone Girl feminist, misogynist, or somewhere in between, it is thrilling to see a narrative…
Birdman or (The Unexpected Virtue of Ignorance), the latest film from Alejandro González Iñárritu, is a showy directorial performance about performance. By design, it’s swooningly…
It’s been a long 10 days at the 2014 LFF, but I’m back with news of films from the United States, the United Kingdom, Russia,…
Near the end of Listen Up Philip, the audacious third feature from Alex Ross Perry, narcissistic author Philip (Jason Schwartzman) attempts to rekindle some sympathy…
War in cinema is often treated either as a crucible upon which manhood is tested and goodness defended (Saving Private Ryan) or as a portrait…
Jorge R. Gutierrez wants to teach people about his heritage. He also wants to make colorful, energetic animated films to dazzle a wide audience. With…
Just as much an essential piece of historiography as it is a poetic, ruminative look at the effects of folklore on the Eastern European condition,…
If I’m overloaded on caffeine and discussing the virtues of Keira Knightley with a random Italian woman, it must be that time of year again.…
Few current documentaries seem as of-the-moment as Jesse Moss’s The Overnighters, a film shot through with pulsating clarity and startling ambition. It follows Jay Reinke,…
There’s a moment near the end of the second act of Damien Chazelle’s sophomore feature Whiplash that threatens to completely derail the narrative: a character…
The success of James Wan’s The Conjuring last year, like that of Paranormal Activity back in 2009, points to a wave of purely affective horror…
David Fincher’s Gone Girl immediately announces its intentions to deconstruct everyday images with a deceptive opening-credits sequence consisting of shots of empty houses, “for sale”…