Every new romance begins with the fantasy of everlasting happiness. Film as an art form is adept at capturing the intensity of euphoric early moments shared be...
I’ve seen and reviewed many of Kevin Macdonald’s narrative feature films but can hardly remember any of them. State of Play, The Last King of Scotland, Black S...
Like so many Olivier Assayas films, Demonlover belongs to the ghosts. In this particular case they are enigmatic, ladder-climbing players in a high-stakes game...
There are few more indelible images in film history than Sam Neill’s massacred face at the end of Paul W.S. Anderson’s Event Horizon: eyes gouged, skin fillete...
Set in a remote Sudanese village where religion and prophecy are valuable currencies, You Will Die at Twenty beautifully examines misguided notions of faith. A...
There was a brief period of time during the first Obama administration when Hollywood tried to make Jason Segel a leading man. Freshly minted by the ever-expan...
When things get tough, I’ve always turned to the Western for clarity and reassurance. Maybe it’s because most of these films are about finding solace during un...
Times are hard, and most of the time so is Frank (Arieh Worthalter). In Nadège Trebal’s Twelve Thousand, this charismatic French grifter sees sex less as commo...
Mexican art cinema in the last two decades has been defined by a confrontational formalist rigor most widely seen in the films of Carlos Reygadas and Amat Esca...
Since the release of Gravity in 2013, George Clooney has been in quite the acting slump, with Brad Bird’s severely underrated Tomorrowland as the lone bright s...
