The last Philip Seymour Hoffman to premiere before his passing, God’s Pocket is a needless farce from Mad Men’s John Slattery.
A young nurse is given a terrifying assignment in Corinna Faith’s bleak but all too timely supernatural horror.
Sandwiched between Godfathers I & II, the paranoid thriller features Francis Ford Coppola in his greatest collaboration.
Emma Seligman’s debut crawls up the spine with plenty of darkly comic anxiety.
Beautiful, strange, and enrapturing, 2046 feels unlike anything else in Wong Kar-wai’s oeuvre, and yet utterly of a piece with his mesmerizing works.
Marlon Brando’s sole directorial credit is a messy but fascinating combination of Western and Freudian drama.
The underrated teen comedy-drama about a lonely, lovelorn nerd turns 35 this year.
Wong Kar-wai’s arguable masterpiece is a sumptuous, meditative ode to unconsummated passion.
Wong Kar-wai’s genial romantic drama is at least as much about the America he loves as it is about the characters.
Owning Mahowny features one of Philip Seymour Hoffman’s best performances as a gambling addict, but keeps its stakes (and ambitions) low.
It’s dumb as a box of rocks, but Adam Wingard’s addition to the American-produced MonsterVerse hits its spectacle sweet spots.
Mike Leigh’s kitchen-sink drama and Albert Brooks’ droll afterlife comedy are two of Criterion’s stellar March releases.
The remaining trio of true stories at this year’s festival focus on politics and its impact on both individuals and society at large.
This 1997 romantic drama embodies the outstanding atmospheric qualities of Wong Kar-wai’s body of work.
Wong Kar-wai’s dreamy, pop-culture-infused romance grounds time and self in a giddy exploration of commodity fetishism.
Chris McKim’s documentary about the fiery artist turned AIDS activist is a stirring tribute to voices that were silenced too soon.
From depictions of Black beauty to the ethics of whistleblowing, two female-focused docs out of SXSW struggle to […]
The remaining festival offerings in horror are satisfyingly gory, but some fall short in plot & characterization.