In the Mouth In the Mouth, the sophomore feature from Cory Santilli (Saul at Night, 2019) is everything from a film noir to a…
Watching Fabrice-Ange Zaphiratos’ Blood Beat in 2025 is a wild sensory experience. It has the (ahem) beats of a slasher while boasting atmospheric sound…
“24 of your favorite stars in Nashville!” hollers the voiceover in the opening credits of Robert Altman’s consensus favorite and magnum opus. (We can…
Universal Language is, at its core, a community portrait. Matthew Rankin’s second feature was co-written and imagined by friends and collaborators Pirouz Namati and…
Where the Sidewalk Ends (1950) would be Otto Preminger’s last film for 20th Century Fox, capping off a productive (if tumultuous) chapter in the…
Why do we even watch this movie in the first place? This is one of those scary movies, isn’t it? For years we hear…
The year before he starred in Witness — Peter Weir’s acclaimed drama about a cop sent to protect a young Amish boy who witnesses…
Pavements “The world’s most important and influential band breaks up and it’s not a big deal.” Thus begins Alex Ross Perry’s Pavements, establishing from…
Blazing Fists I watched two films from IFFR’s 2025 festival: one was The Last Dance, the smash hit Hong Kong family melodrama set in…
When 20th Century Fox bought the rights for a new anamorphic lens technology in 1952, whose origins dated back to a 1926 process called…
Yasuko, Songs of Days Past Like many Japanese directors his age, Kichitaro Negishi got his start at the legendary Nikkatsu studio making the only…