We look back at Jim Jarmusch’s film debut and the way its sense of experimentation ripples through the rest of his career.
A tribute to one of the greatest icons in movie history.
(This dispatch is part of our coverage of the 2019 Chicago International Film Festival.) Welp, CIFF keeps chugging […]
The director of the extensive ’80s horror doc “In Search of Darkness” sits down to talk about nostalgia, gore, and the appeal of scary movies.
Wyrm writer/director Christopher Winterbauer sits down at Fantastic Fest to talk about the analog appeal of ’80s kitsch and adapting shorts to features.
Just in time for Halloween, this monster-sized look at the most important decade in horror is thorough, affectionate, & endlessly entertaining.
Mary Lambert’s 1989 adaptation of the Stephen King novel Pet Sematary doesn’t dig as deeply into parental anxiety and tension as it would like.
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.
David Fincher’s haunting, revolutionary Netflix show returns for a sophomore glimpse into the dark core of the American soul.
Gurinder Chadha’s heartwarming tale of a boy and The Boss fumbles some chords, but charms nonetheless.
Race, control, and patriarchy reign in July’s offerings from Criterion.
Netflix’s acclaimed horror-nostalgia series returns for a third season of high-stakes blockbuster television.
Over his decades-long career, the Italian neorealist crafted films filled with truth, empathy, and kindness.
Miyazaki’s animated classic effortlessly blends magical realism with a relatable coming-of-age story about building community.
In 1988, Hayao Miyazaki found a bright, adorable way to explore the freedom and exuberance of childhood, and invites adults to see it anew.
While it doesn’t have the reputation of Miyazaki’s later works, Studio Ghibli’s sophomore film serves as a lovely steampunk primer to the man’s filmography.
We take a look back at Cameron Crowe’s 30-year-old romantic comedy, a film that’s much more than John Cusack and a boombox.
From Bound to Sideways to Romy and Michelle, this year’s Ebertfest was a celebration of the weird, eclectic, and fantastic films Roger Ebert loved.