In Carlos Reygadas' Post Tenebras Lux, a Latin phrase which translates roughly to "light after darkness," the Mexican filmmaker continues to channel his tradema...
Still exploring the working class American south with a heavy dose of mythical storytelling, only this time with a much broader brush, Jeff Nichols' tries at ma...
Though he's a filmmaker who has painted on a large tapestry, both literally and figuratively, Bernardo Bertolucci's new film Me and You is decidedly smaller in ...
British filmmaker Ken Loach has been around for nearly half a century, starting as a television director in England before his first feature, Poor Cow, starring...
In David Cronenberg's adaptation of Cosmopolis, a novel by post modern author Don DeLillo, the Canadian filmmaker tackles a dense criticism of capitalism, greed...
Operating on a level of ridiculousness so high it suggests possible intention, Lee Daniels' The Paperboy is trash pile packed high, high and higher still. Adapt...
While strange for a Men in Black film to open with something other than a crashing spaceship, I'll admit to being ecstatic for the alternative. Having the sexy ...
In Ben Wheatley's third film Sightseers, the British director, known for taking scenes of normalcy and then spiking them with extreme violence, continues his st...
In Leos Carax's (Pola X) delightfully surreal Holy Motors, the filmmaker seems to be channeling the absurd sensibilities of Luis Buñuel in his prime. Having not...
The problem with On the Road, directed by Walter Salles (The Motorcycle Diaries), is that it wanders, and in no real direction. Of course, that's the whole poin...
