The composer for Charlie Kaufman’s latest talks to us about dream ballets, the strangeness of small towns, and the business of film composing.
Charlie Kaufman directs one of the most subtly horrifying movies of the year.
Vince Gilligan returns to the fate of Jesse Pinkman in a thrilling, meditative neo-Western epilogue made strictly for Breaking Bad devotees.
Martin Scorsese returns with another long, sumptuous opus, whose crackling performances and scintillating script are held up by some wonky de-aging tech and a leaden runtime.
Christian Bale transforms into Dick Cheney in Adam McKay’s deeply angry essay film.
Scott Cooper’s nihilistic acid Western is as self-serious as it is unrelentingly brutal, for both good and ill. […]