It is a film that is a film and that's all it could ever be. Made by humans, poorly, created for crass and financial goals, visibly, and released to a public who could only hiss and mock it. It is exactly what it is, and I love it dearly.
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A Complete Unknown isn’t just a biopic—it’s a meditation on artistry, identity, and the inevitable sacrifices of chasing immortality.
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Queer is a challenging film. It is not necessarily a kind or optimistic film about the queer experience. But, Luca Guadagnino recognizes the inherent loneliness in queerness. He is not turning away from it—no, he confronts, reveals it.
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This reviewer agrees with the quote from the character Robert McKee from the film Adaptation (2002) that voice-over narration is “flaccid, sloppy writing. Any idiot can write [them] to explain the thoughts of a character.” And yet, the voice-over narration found in Moonlighting (1982) is justified, for it effectively conveys the crisis of conscience of its main character.
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Tyler Taormina’s Christmas Eve In Miller’s Point is refreshing in its deep study of the “home for the holidays” concept.
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Though critically acclaimed throughout his career, Ingmar Bergman was never a filmmaker that drew large crowds to his movies. His cerebral horror film The Magician (1958) serves as his revenge on those critical audiences.
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Dutch filmmaker Halina Reijn (Bodies Bodies Bodies) brings sex back on screen in a big way with her erotic thriller Babygirl.
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BORDERS|NO BORDERS is the short film competition hosted by Houston Cinema Arts Festival 2024.
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Audition has aged extremely well, so nuanced in its exploration of human nature that it’s been analyzed as both feminist and misogynistic.
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Flesh for Frankenstein stars Udo Kier as the titular Dr. Frankenstein, on an obsessive quest to create two perfect specimens of humanity.
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Estibaliz Urresola Solaguren's 20,000 Species of Bees delivers a raw peek into a summer of shame within a matriarchal family in Spain.
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A genuine admirer of Shimizu and the Ju-On installments, Sam Raimi wisely tapped Shimizu for the American remake, now simply titled The Grudge.
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Red One, director Jake Kasdan’s latest pairing with Johnson after a couple of Jumanji reboots, finds the actor taking on the tight red and green uniform of Callum Drift.
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Heretic presents itself as a variation of the pagan pulp that has made Ari Aster A24’s poster boy.
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Shot entirely in first-person, RaMell Ross’s adaptation of Colson Whitehead’s Pulitzer-prize winning book pushes the boundaries of visual storytelling to create a bold and immersive work of art.
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Justin Kurzel’s newest film The Order, this year’s “Centerpiece Film” at the Austin Film Festival, observes a hate-filled racial movement in 1983 that continues to live on in modern rhetoric.
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Planet of the Apes is one of the best sci-fi films ever made, and with the recent release of Kingdom of the Planet of the Apes, it only felt right to go through every entry of one of the most consistent and beloved movie series in Hollywood history.
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Megalopolis is Francis Ford Coppola’s latest and grandest cinematic vision. It follows Caesar Catalina (Adam Driver), a visionary genius trying to shape the world into a utopia–a cool, big idea that not enough big movies try to tackle sincerely.
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Released nearly a decade prior to the landmark ruling of Roe v. Wade, Love with the Proper Stranger is a time capsule to an era where abortions were illegal and performed covertly.
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The Seed of the Sacred Fig entwines the real threats of a brutal theocracy with the fictional story of one family’s struggle under its absolutist rule.
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