I sit down with two subjects from the upcoming AIDS documentary 5B to talk about Pride and the plague years.
The vulgar auteur commits to a 13-hour crime drama that traffics in his most minimalist, nihilistic sensibilities.
Jack Quaid and Maya Erskine break long-standing rom-com modes in this refreshing, personable love story.
The Wachowskis’ 1996 directorial debut feels like a formative text for the filmmakers, a slinky crime caper that’s also unabashedly queer.
Denys Arcand’s droll French caper comedy leans a little too hard on cliche and creaky anti-capitalist screeds.
Welcome back to More of a Comment, Really…, a weekly interview podcast hosted by Clint Worthington! Every episode will feature interviews with actors, […]
Octavia Spencer reunites with the director of The Help, and this time she’s serving worse things than a “chocolate pie”.
David Milch’s long-awaited conclusion to his dark Western series hugs fans like a warm blanket, but be careful – it might be covered in smallpox.
Jessica Hausner’s sci-fi yarn about plants that emit happy drugs doesn’t branch out as widely as one would like.
Céline Sciamma’s queer period romance is an intimate visual feast, filled with uncanny empathy and admirable aesthetics.
As self-reflective as it is starkly modernist, Pedro Almodóvar’s latest is navel gazing at its finest.
Joanna Hogg tells the story of a young artists’ maturity with an airtight structure and incredible performances.
Noble Jones vies for the title of treacly Sundance-y auteur with his gimmicky romantic drama about a lovelorn doomsday prepper.
Larisa Sadilova’s probing drama highlights small-town Russian culture through an opaque lens.
Mati Diop’s expansion of her documentary short is a scifi-tinged genre experiment that admirably swings for the fences, even if it doesn’t land with complete success.
Following up I, Daniel Blake with another grim drama about English poverty, Ken Loach spits venom about the dark side of capitalism to mixed results.
Arnaud Desplechin shifts gears with an all-too-straightforward cop drama mired in cliche.
The off-kilter French-Canadian auteur returns with a resonant if overlong drama that ends just a bit too messily.