For June, we celebrate Pride Month by diving into the filmography of cinema’s most prominent transgender filmmakers.
The Wachowskis’ most polarizing film offers an emotional payoff — if you’re willing to invest the time & attention.
The quirky BBC drama fills a need for bisexual characters on TV, while still remaining coy on the subject.
Ari Aster’s followup to Hereditary is a sun-dappled nightmare that finds liberation amongst the flames.
Richard Curtis envisions a world without The Beatles, then promptly ignores it in favor of yet another treacly love story.
The ostensibly classy Conjuring series turns into a predictable haunted-house spookfest.
This weekend’s box office bode ill for Pixar’s Toy Story 4, which performed under expectations, and Child’s Play kicks off a modest opener.
The Wachowskis’ kaleidoscopic 2008 adaptation of the clasic ’60s anime is as bright, bold and weird as the rest of their late-period output.
We speak to the star and director of the new indie comedy Being Frank about the difficulties in generating empathy within adultery.
Abel Ferrara eulogizes fellow scandalizer Pier Paolo Pasolini in a suitably grimy tone poem featuring Willem Dafoe.
Jim Gaffigan’s hangdog performance and an unexpectedly nuanced script elevate a stock comedy scenario into something genuinely thoughtful.
The Matrix Revolutions, the Wachowskis’ final film in the trilogy, is just as flawed as Reloaded, but carries heaps of visual and thematic weight.
Tensions between her lover and her business partner force Liza to walk a tight-rope.
Dennis Do’s lushly animated recounting of the Khmer Rouge takeover of Cambodia is striking but lacks much-needed specificity.
Over his decades-long career, the Italian neorealist crafted films filled with truth, empathy, and kindness.
A look back at the hype, the controversies & the music of Tim Burton’s take on the Caped […]
Todd Haynes’ unconventional take on the life of Bob Dylan turned the concept of myth & reality on its head.
On the film’s thirtieth anniversary, we look back at Peter Weir’s intricate drama and the inherent tragedy of seizing the day.
Jake Scott’s dreamlike ode to several generations of women in an American family is let down by an overly meandering script.