Terrence Malick’s three-hour opus examines the links between the theological, the empirical, and the absurdist in his best film in almost a decade.
Yulene Olaizola presents a nightmarish thriller based on Central American folklore, but its opaqueness makes it hard to truly grasp.
In his latest anti-biopic, Michael Almereyda drenches the life of the famed inventor in layers of enticing artifice.
Matthew McConaughey wasted a performance in Gus Van Sant’s most disappointing film, a self-important look at white male redemption.
We look back at Jim Jarmusch’s film debut and the way its sense of experimentation ripples through the rest of his career.
Two masters of the absurd get new Criterion releases – one (The Circus) Chaplin’s last great silent, the other (Polyester) uproarious John Waters vulgarity.
Over his decades-long career, the Italian neorealist crafted films filled with truth, empathy, and kindness.