Friday’s CIFF Dispatch talks up Harlem doc The Apollo, dark fairy tale Adoration, Guatemalan drama Our Mothers, and Minhal Baig’s coming-of-age story Hala.
At CIFF, we take a look at religious drama Maternal, episodic romantic dramedy Babyteeth, German potboiler Lara, and historical queer horror Carmilla.
Today’s CIFF dispatch includes family drama The Truth, death-row issue film Clemency, Guatemalan queer drama Tremors, and the gonzo Twentieth Century.
The latest volley in the cinematic culture wars is a clunky, but essentially-competent polemic in favor of school vouchers.
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.
Our first dispatch of the Chicago International Film Festival highlights Polish drama Sole, 3D dance doc Cunningham, and the experiential Fire Will Come.
Cheap, creaky jokes and overstimulated filmmaking plague a too-late sequel no one asked for.
Robert Pattinson and Willem Dafoe crash upon the ramparts of Robert Eggers’ disquieting followup to The Witch.
Among the Mouse House’s stable of live-action remakes, this sequel to the 2014 prequel goes down a lot smoother than its contemporaries.
We look back on Martin Scorsese’s 1980 boxing drama, and how Joe Pesci became one of the most pivotal players in the filmmaker’s stable.
Upstream Color’s Shane Carruth stars in a haunting, atmospheric horror film about what lies beyond the pale.
This animated reboot of TV’s spookiest family plays its kid-friendly scares a bit too safe.
Wyrm writer/director Christopher Winterbauer sits down at Fantastic Fest to talk about the analog appeal of ’80s kitsch and adapting shorts to features.
Ang Lee’s ambitious young-vs-old futuristic thriller is a misfire of cranked-up frame rates and muddled plotting.
Joker’s box office take this opening weekend is nothing to laugh at, as the DC Comics experiment paid off handsomely for Warner Bros.
Romania’s Corneliu Pourumbiou bogs down excellent production design in droopy, exposition-heavy noir trappings.
Takashi Miike’s gazillionth film is a riotous yakuza caper that traffics in the filmmaker’s impeccable balance of extremes.
Steven Soderbergh serves up a messy capitalist critique in the shell of a slick, simplistic essay film.