Digger, the latest from uncompromising Mexican auteur Alejandro González Iñárritu, seems purposely designed to frustrate any angle of enjoyment a casual viewer might pursue.
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One might think that having nearly thirty more years of experience as a filmmaker under his belt would lead this remake of Serpent’s Path to feel more refined and perhaps even better than the original. However, while the French version is more polished, it is the angry, messy energy that makes the original film tick.
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Anchored by a trio of strong performances from its lead actresses, the film puts a nice spin on the classic Faustian storyline but loses itself while upping the ante to near-ludicrous levels.
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What In a Violent Nature 2 lacks in originality it makes up for in personality. This is a funny, campy, super-violent movie that revels in its practical effects and endless gore.
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Backed by the momentum already building out of Cannes and Sundance, the fall movie lineup looks poised to cap off another stacked year in cinema.
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To watch a Gregg Araki film is to swim in a dream of fully realized sexual liberation and have that dream confront the reality we live in.
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Late Fame is a movie made more of good taste than of good artistic instinct—scenes seem to happen because, in this type of movie, that's where this scene tends to go.
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The debut feature from Matías Vásquez, better known as Stillz, Barrio Triste is a fascinating mix of pungent social realism and brain-frying surrealism.
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As with many other releases in recent years, when I first heard about the sequel to 1998’s Practical Magic, I couldn’t help but wonder… who asked for this?
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eXistenZ is weird, unsettling, occasionally hilarious, and visually unforgettable, but beneath its grotesque imagery is a surprisingly thoughtful exploration of gaming, intimacy, and reality.
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A Lizard In a Woman’s Skin (the title comes from a throwaway line delivered by, you guessed it, a drugged-out hippie) is an authentic 1970s giallo, full of lurid imagery and an insolent refusal to have any point beyond base titillation.
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Alexander Ullom’s debut is a smart and existential thriller that’s exactly what you’d hope for from an indie debut.
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Maybe if our “Idiots” had more fun on this road trip, it would have made the ending hit a little harder. But, Blair’s scattershot comedy is too all over the place for the audience to take anything significant away.
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Hope is absolutely worth rolling the dice on, assuming you can deal with its caveats when the time comes.
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I Want Your Sex lives with one foot in reality and one firmly planted in the surreal, ready to shift into an animated dream sequence at any turn, and you should see it while you can, if you can, wherever you can.
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One’s reaction to After Last Season might be to laugh at first, as the lines between good and bad start to blur, but I found my laughter turned into curiosity and, searching through the confusion rather than being just tickled by it, I found the artistry of the film.
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The Legend of the Stardust Brothers feels universal. More than brothers, they are the heroes with a thousand faces: the rock band: the movie.
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Insidious: Out of the Further is that rare sixth entry in a horror franchise that happens to be the best.
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Like all good films about film, Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma is obsessed with looking: who's looking, and how they’re looking.
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Skweezy Jibbs Makes a Movie is a testament to the fact that regardless of a movie’s quality, the world is better for having more real art in it, straight from the soul.
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