Park Chan-wook’s most recent film is an erotically charged but non-salacious look at women finding shelter & understanding in each other.
Park chan-wook breaks up his tales of blood and vengeance with a bittersweet tale of the thin, romantic line between compassion and delusion.
Park Chan-wook’s take on vampire movies is bleak, creepy and undeniably sexy.
The man who arguably put South Korean cinema on the world map is the focus of this month’s retrospectives.
Despite its future A-list cast & spooky atmosphere, “Blood Creek” is an incoherent misstep for the versatile director.
Joel Schumacher inexplicably drained Andrew Lloyd Webber’s legendary Broadway musical of every bit of its camp and queerness.
Joel Schumacher’s sensitive wartime drama gives the world Colin Farrell and explores the painful tribulations of young men waiting for war.
Joel Schumacher’s second go at the Batman franchise has its undeniable charms, but relied too much on tired stereotypes.
From Rodney King to Donald Trump, Michael Douglas’ D-FENS remains the pluperfect case study for white grievance politics.
Joel Schumacher’s ninth feature adapts John Grisham’s usual action nonsense with depth & sensitivity.
Joel Schumacher’s fun, stylish take on teen vampires both ushered in “MTV horror” & acknowledged young female horror fans.
The Brat Pack-era drama about callow college graduates is worth a watch, if you can tolerate its awful characters.
Schumacher’s directorial debut is a silly, messy take on the restrictive gender roles of women in the household.
In light of his passing, we look at the eclectic work of the man who loved camp, callousness, and everything in between.
Matthew McConaughey wasted a performance in Gus Van Sant’s most disappointing film, a self-important look at white male redemption.
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.
Gus Van Sant’s 1991 queer classic is a mournful tone poem about lost youth, and the intersection between class and queerness.
Gus Van Sant’s queer Western was received with scorn by critics when it first came out, but its celebration of the abject deserves reconsideration.