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.
Germany’s surprise hit time-bending soap opera returns & is more out there than ever before.
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.
The black-sheep show of the DC Universe returns for a second season even more confident in its quirks.
Five years on, the sequel to the seminal dude-dancing movie remains a feminist celebration of desire.
Gus Van Sant’s squeaky clean biopic about the famed gay rights activist marks a myopic and pandering misstep in the director’s filmography.
HBO’s new true-crime docuseries illuminates not just the Golden State Killer, but the woman who dedicated her life to catching him.
Both tactile and ethereal, Gus Van Sant’s skateboarding drama saw him expand upon his neorealist work that spanned the 2000s.
Kon Ichikawa’s seminal sports documentar about the 1964 Tokyo Olympics receives a pristine 4K restoration courtesy of The Criterion Collection.
Without its own texture or style, Lars Damoiseaux’s camp-adjacent feature debut exists in a vacuum divorced from its inspirations.
The former Daily Show host’s sophomore film is a dated, centrist screed that fundamentally misunderstands our current political moment.
Spike Lee’s longtime collaborator talks about using new instruments in his latest score, honoring Black veterans, and representation in film composing.
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.
Matthew Rhys steps into the gumshoes of the famed private investigator for a shaky but sumptuous first episode.
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.
The second doc about the disgraced lawyer in months makes the cardinal sin of avoiding its own viewpoints.
Producer Allan Carr’s legendary disco disaster turns 40 this year, and fails to maintain even “so bad it’s good” status.