In light of his passing, we look at the eclectic work of the man who loved camp, callousness, and everything in between.
Hirokazu Kore-eda’s first film outside of his native Japan is a light, star-studded family affair of modest potential and diminishing returns.
Four decades later, Zucker, Abrahams, and Zucker’s pitch-perfect disaster spoof is the template for the absurdist movie parody.
20 years later, Roland Emmerich’s Revolutionary War drama skewers U.S. history and Mel Gibson’s persona without trying to—or realizing it.
Powerful indies and revisionist superhero series dot some of June’s most addictive home video offerings.
Ron Howard’s gripping historical space thriller teaches us a lot about frustrated expectations in our current moment (and the resolve to overcome them).
David France’s gut-wrenching documentary on the state-sanctioned purge of GLBT people in Chechnya is an excellent expose of the atrocities and portrait of the heroes in Russia.
Playing a creator who needs adoration, Philip Seymour Hoffman revels in the idiosyncrasies of famed author Truman Capote in Bennett Miller’s biopic.
After a handful of missteps, Gus Van Sant regained his footing with a solid—if fittingly flawed—indie.
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.
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.
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.