Richard Linklater’s 2003 Jack Black comedy is a riotous, rocking celebration of creativity and the joy of music, and holds up like a killer solo.
Both a “masterpiece” and a “self-indulgent bore,” Richard Linklater’s passion project captured the painful fleetingness of life.
Linklater’s darkest film continues to baffle & mesmerize viewers more than 10 years later.
Jane Campion’s Janet Frame biopic, a trilogy of fables from Abbas Kiarostami, and one of Ozu’s lesser-known melodramas fill Criterion’s August slate.
The Seth Rogen-produced kiddie-raunch comedy starts strong, in an August that’s been largely underwhelming for the box office.
In 2005, Richard Linklater followed up School of Rock with the similarly-child-oriented remake of The Bad News Bears, to mixed results.
Richard Linklater’s 2001 rotoscope experiment gets lost in philosophical aimlessness.
Richard Linklater’s latest removes the mystery from the Marie Semple novel, but ends up a flawed but welcome reflection on aging and creativity.
The latest Fast & Furious movie maintains a modest hold on the box office this weekend, while newcomer Scary Stories to Tell in the Dark makes a big splash for late-summer horror flicks.
In a year of TV series reaching their much-vaunted conclusions, Orange Is the New Black went out with a seventh season filled with drum-banging polemic.
Linklater’s Before Trilogy – Before Sunrise, Before Sunset, and Before Midnight – is an eye-catching crystallization of how relationships change over time.
Richard Linklater’s 1993 coming-of-age classic is a battle of dueling, complicated nostalgias around ’60s youth culture.
Thirty years ago, The Abyss saw James Cameron pivot away from masculine action pictures into more humanist filmmaking.
Richard Linklater’s directorial debut about colorful weirdos introduced both a new word into the American vernacular & a talent to be reckoned with.
Hobbs & Shaw raced into theaters last weekend and racked up a respectable box office showing, while The Farewell continued its upward trajectory.
In honor of Where’d You Go, Bernadette?, we take a closer look at the prolific indie pioneer.
The otherwise-spotty Hateful Eight still contains one of Tarantino’s greatest sequences.
While “The Lion King” dropped like Mufasa off a cliff in its second weekend, “Once Upon a Time in Hollywood” kicked off Tarantino’s biggest opening.