Using gunpowder and sky as his canvas, Chinese-born artist Cai Guo-Qiang’s extraordinary statements on environmentalism, capitalism and humanity do require a la...
Dozens of films try to copy the Coens every year, and yet no one ever comes close. They have developed such a delicate, fluid witches' brew of talent behind and...
Here is where I go off-book for my final Sundance review. The film is Nicolas Pesce's frightening The Eyes of My Mother, and I am not its target audience. This ...
For much of its 79 minutes, Tahir Jetter's How To Tell You're A Douchebag feels like the type of raw, DIY and impressive indie picture that barely stands a chan...
If a tree falls in the forest, does anyone hear it? By the same token, if a midnight movie premieres on VOD or screens at an empty AMC multiplex at 2PM, is it s...
With its focus on the effects of exploration by white men on foreign lands, Ciro Guerra’s Oscar-nominated Embrace of the Serpent will inevitably be compared to ...
Blurring the line between documentary and fiction like few films before it, Michal Marczak's All These Sleepless Nights is a music-filled ode to the ever-shifti...
Cinema is often a space for abstract, subconscious expressions that require airing. Under The Shadow is an inspired psychological thriller from Iranian filmmake...
It’s a wonder that Jane Got a Gun is even out in theaters right now. Anyone with even a passing familiarity with its production headlines will have read about i...
While The Big Chill certainly wasn't the first of its kind, Lawrence Kasdan's 1983 hit has become a cultural benchmark for the glut of features depicting a week...
