Joel Schumacher’s second John Grisham adaptation is a myopic look at race and the criminal justice system in the American South.
Joel Schumacher’s ninth feature adapts John Grisham’s usual action nonsense with depth & sensitivity.
Joel Schumacher’s fun, stylish take on teen vampires both ushered in “MTV horror” & acknowledged young female horror fans.
The Brat Pack-era drama about callow college graduates is worth a watch, if you can tolerate its awful characters.
Schumacher’s directorial debut is a silly, messy take on the restrictive gender roles of women in the household.
In light of his passing, we look at the eclectic work of the man who loved camp, callousness, and everything in between.
After a handful of missteps, Gus Van Sant regained his footing with a solid—if fittingly flawed—indie.
Matthew McConaughey wasted a performance in Gus Van Sant’s most disappointing film, a self-important look at white male redemption.
Glib in concept and garish in emotions, Gus Van Sant’s quirk-fest is a testament to just how grating the Manic Pixie Dream Girl trope can be.
Gus Van Sant’s squeaky clean biopic about the famed gay rights activist marks a myopic and pandering misstep in the director’s filmography.
Both tactile and ethereal, Gus Van Sant’s skateboarding drama saw him expand upon his neorealist work that spanned the 2000s.
Gus Van Sant’s Oscar-winning character drama is a safe, middlebrow nuts-and-bolts picture as formative as it is uncreative for the filmmaker.
A look at death as the great equalizer, Gus Van Sant’s Kurt Cobain-inspired drama looks at the decay from man to myth—but never legend.
Bringing the works of Tarr and Akerman to modern America, Gus Van Sant’s drama about student life around a school shooting remains a vital work.
Gus Van Sant’s 1991 queer classic is a mournful tone poem about lost youth, and the intersection between class and queerness.
Gus Van Sant’s remake of the Alfred Hitchcock classic is a cut-and-paste exercise that plays like little more than a rehash of the original.
Gus Van Sant’s queer Western was received with scorn by critics when it first came out, but its celebration of the abject deserves reconsideration.
Gus Van Sant and Buck Henry’s darkly funny satire about toxic self-obsession features a memorably villainous turn by Nicole Kidman.