In her directorial debut Oh, Hi!—which premiered this year at Sundance Film Festival—Sophie Brooks takes the decline of modern dating and mixes it up in a frothy rom-com.
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Welcome to 1990’s Pump Up the Volume, writer/director Allan Moyle’s second installment in his unofficial trilogy of youthful rebellion and kickass soundtracks.
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In her new film Sugar Babies, which premiered at Sundance Film Festival, Rachel Fleit charts the trajectory of a TikTok sugar baby influencer.
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In this latest Apes Retrospective, we dig into Battle for the Planet of the Apes and the 2001 reboot of the original Planet of the Apes.
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In The Lawnmower Man, virtual reality is more imaginative and worse rendered than we have ever conceived of it.
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Leigh Whannell’s Wolf Man is a movie at odds with itself, too quick to take the time to delve into fraught family history and too narrowly focused to let its Wolf Men really cut loose and get monstrous.
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In this latest Apes Retrospective, we dig into Escape From the Planet of the Apes and Conquest of the Planet of the Apes.
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The Brutalist achieves its greatest emotional potency when it examines the precariousness of life’s balance.
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The best parts of Y2K weave together the absurdity of its situation into the absurdity of life in the United States on December 31, 1999.
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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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In Venom: The Last Dance, Eddie Brock (Tom Hardy) and his symbiote Venom are on the run.
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What Dark Angel: The Ascent lacks in Ursula is made up for in spine removals as Angela Featherstone lets loose her sense of justice upon the world.
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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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