Verhoeven trusts us to take in an onslaught of religious parallels and florid symbolism and come to our own conclusions on what it all means—if anything.
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In times of recent social unrest, films from the L.A. Rebellion movement provide a reflection on how other American regions in other times creatively react to such intensity. Anger will always interrupt a peaceful environment. Instead, communities that break bread rise together and communities that reconcile will endure.
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Sentimental Value, apart from the heartwrenching family dynamics of grief and trauma on display, reads like a love letter to cinema — but by the time the credits roll, we realize it’s actually a eulogy.
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The Name of the Rose’s status as an arthouse mystery remains firmly intact. Annaud’s masterful direction of the medieval atmosphere and its commanding performances are central to its legacy.
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In Father Mother Sister Brother, the first film from Jim Jarmusch in over six years, Jarmusch explores this world of, as Tom Waits puts it, “family relations” and how the secrets we keep to ourselves have the power to shape an entire family’s identity as much so as the things we reveal.
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“Wuthering Heights” includes plenty of bodice-ripping romance on the foggy moors, but its overall affect resembles Sofia Coppola’s Marie Antoinette curdled into a horny, death-haunted nightmare.
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he Moment gives an inside look into what goes on while an artist is trying to figure themselves out under massive scrutiny.
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At its heart, Shelter is a tale of an older man protecting a young girl, and that connection shines.
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Movies are often described as having dream logic or otherwise being dreamlike, and this truly feels like a dream.
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Who Killed Teddy Bear? is a seemingly salacious examination of human perversity, but there is room here for something more nuanced, thanks to performances that elevate the material.
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The Apple is a campy, blast from the past, borderline hippie propaganda mess that I couldn’t look away from and a not-so-genius product of its time.
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It’s hard to beat Raimi even when you’re Raimi himself, but that doesn’t mean that Send Help isn’t going to be a blast to watch in a theater with a crowd squealing at its bleakly hilarious sequences.
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Despite being in the public domain, Spider Baby is best shared with a whole room filled with friends and strangers, a communal experience in beautiful weirdness before its time. It’s almost like Jack Hill dared to ask the question: What if the Addams Family were as dangerous as they were lovable?
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Surfer, Dude is tonally deranged, structurally unfocused, and difficult to fully comprehend… but, the vibes were good.
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Regarding Osgood Perkins’ feature film The Monkey, I didn’t laugh. But we can go deeper than that.
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Fans of the previous film will likely call it the first great horror movie of the year, and, like Samson with his lunch of brains, even the haters might find some big ideas to chew on.
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Anno's commentary is neither moralistic nor celebratory towards digital video. It is, as all of his work is, rooted in a deep empathy that finds a spark of hope within a pit of blue-black despair.
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After an eight year gap between her last two films, Lynne Ramsay demonstrates all her strongest skills for using textural impressionism to complicate what could be taken as a straightforward domestic drama.
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Searching for Satyrus gracefully threads together larger social issues like climate change and ethnic conflicts with a deeply resonant story of family and legacy.
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This one is, to use a technical term, a doozy.
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