Do we still need the album? That question — elicited by the advent of streaming music platforms and the musicians’ newfound ability to self-publish songs…
After Noé’s career peak with Climax, Lux Æterna represents a disappointing return to the director’s haphazard stylistic tics and overindulgent edgelord sensibilities. Like fellow provocateurs Lars von…
Vortex is as viscerally bracing as Noe’s previous efforts, but here also cut through with a new, impressive level of restraint. It’s become somewhat typical…
The French Dispatch For better or for worse, there are few working American auteurs whose visual stamps are as broadly and immediately recognizable as Wes…
It’s been a year of confrontation at the movies, as the domestic and international conflicts of the past several years have reached varying degrees of…
We’ve decided to do something a little different this year for our 2019 (so far) lists; instead of a formal poll, were using this as…
If nothing else, Gaspar Noe’s Climax suggests that, should someone ever decide to revive the Step Up franchise, Noe might be a name producers could consider.…
OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or into some…
Our third dispatch from the Toronto International Film Festival (here’s the first and here’s the second) includes our takes on a few hold-overs from this year’s Cannes slate…
For French director Gaspar Noe, life and death are not physical certainties but evolving psychological perspectives that often overlap. His three feature films (I Stand…