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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Cool monsters are expensive. Zeiram skimps on the story to feast on a live-action critter (or three).
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In this third installment of our four-part series on restorations of Wiseman’s older works, we find how Wiseman creates meaningful, memorable, and consistently engaging films that incisively reflect on American government bureaucracies.
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The dilemma of adaptation is whether it is necessary to adapt fully or loosely and whether the intent is to honor or update the material.
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As Powell and Pressburger’s Black Narcissus wrestles with so much lust and colonization, the film’s contemplation of faith gets a little lost in the scrum.
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When Kinds of Kindness is placed in a row with other White Album films, a theme seems to emerge: these are works where the director throws everything at the wall—not to see what sticks and trim the rest, but to make as big a mess as possible.
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Although Saturday Night is marketed as a comedy, it is hardly a laugh-out-loud spectacle: it’s similar to the anxiety-inducing cinema affiliated with the Safdie brothers but with a comedic touch.
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We Live in Time’s strength lies in the acting. Garfield and Pugh elevate the film from a standard tearjerker to a cathartic exploration of the way that love, grief, and memory intersect.
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Of Unknown Origin (1983) is about a man trying to kill a rat. But this clever horror film is really about the lead character’s Ahabian obsession with both his rodent opponent and with his career success.
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Central Park (1989) and Canal Zone (1977), point especially to his knack for keen sound design and editing. Both restorations demonstrate Frederick Wiseman’s deliberate choices for aural transitions and building an immersive and rich soundscape that helps fill out the impressive scope of both projects.
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