Features “Don’t Worry, He Won’t Get Far on Foot” welcomed Gus Van Sant to the indie-sphere After a handful of missteps, Gus Van Sant regained his footing with a solid—if fittingly flawed—indie.
Reviews Nothing can prepare you for the finale of “Dark” By: Beau North Germany's surprise hit time-bending soap opera returns & is more out there than ever before.
Features The Manic Pixie Dream Girl became a nightmare in the insufferably twee “Restless” 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.
Reviews “Doom Patrol” is back for a strange, homespun second season By: Tim Stevens The black-sheep show of the DC Universe returns for a second season even more confident in its quirks.
Anniversaries Revisiting the himbo fantasia of “Magic Mike XXL” Five years on, the sequel to the seminal dude-dancing movie remains a feminist celebration of desire.
Features Gus Van Sant’s “Milk” has soured with time Gus Van Sant's squeaky clean biopic about the famed gay rights activist marks a myopic and pandering misstep in the director's filmography.
Reviews “I’ll Be Gone in the Dark” is a powerful ode to Michelle McNamara By: Beau North HBO's new true-crime docuseries illuminates not just the Golden State Killer, but the woman who dedicated her life to catching him.
Features The quiet realism of “Paranoid Park” showed Gus Van Sant at his indie best Both tactile and ethereal, Gus Van Sant's skateboarding drama saw him expand upon his neorealist work that spanned the 2000s.
Columns Criterion Corner: “Tokyo Olympiad” Blu-Ray Re-release Kon Ichikawa's seminal sports documentar about the 1964 Tokyo Olympics receives a pristine 4K restoration courtesy of The Criterion Collection.
Reviews “Yummy” is a gorefest without any real flavor By: Matt Cipolla Without its own texture or style, Lars Damoiseaux's Camp-adjacent feature debut exists in a vacuum divorced from its inspirations.
Reviews Jon Stewart’s “Irresistible” is toothless, out-of-touch political satire By: Andrea Thompson The former Daily Show host's sophomore film is a dated, centrist screed that fundamentally misunderstands our current political moment.
Features Terence Blanchard on scoring “Da 5 Bloods” Spike Lee's longtime collaborator talks about using new instruments in his latest score, honoring Black veterans, and representation in film composing.
Filmmaker of the Month “Good Will Hunting” was Gus Van Sant’s big swing for the normies 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.
Reviews “Perry Mason” Recap: “Chapter One” is gorgeous but tries too hard By: Megan Sunday Matthew Rhys steps into the gumshoes of the famed private investigator for a shaky but sumptuous first episode.
Features From death to birth, “Last Days” showed Kurt Cobain fade from man to myth 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.
Reviews “Bully. Coward. Victim. The Story of Roy Cohn” hides behind fake objectivity By: Jonah Koslofsky The second doc about the disgraced lawyer in months makes the cardinal sin of avoiding its own viewpoints.
“I have seen the light!”: some personal thoughts on “The Blues Brothers” The action-comedy-musical classic turns 40 this year, and remains both a staple of 80s nostalgia & a love letter to Chicago
“Can’t Stop the Music” was a case study in the wrong way to do camp Producer Allan Carr’s legendary disco disaster turns 40 this year, and fails to maintain even “so bad it’s good” status.
Interviews Josephine Decker on the dreamy subjectivity of “Shirley” The director of Shirley talks about Elisabeth Moss, structuring scenes, and taking creative license with a real-life figure.
Reviews “Sherman’s Showcase Spectacular” celebrates a belated Black History Month By: Tim Stevens IFC's irreverently absurd Soul Train pastiche returns for a one-off special as inventive as it is occasionally overlong.
Reviews With “Wasp Network,” Olivier Assayas loses his sting By: Michael Snydel Olivier Assayas' latest is a clunky thriller that resists cinematic convention to its detriment.