Playing a creator who needs adoration, Philip Seymour Hoffman revels in the idiosyncrasies of famed author Truman Capote in Bennett Miller’s biopic.
After a handful of missteps, Gus Van Sant regained his footing with a solid—if fittingly flawed—indie.
Matthew McConaughey wasted a performance in Gus Van Sant’s most disappointing film, a self-important look at white male redemption.
Glib in concept and garish in emotions, Gus Van Sant’s quirk-fest is a testament to just how grating the Manic Pixie Dream Girl trope can be.
Gus Van Sant’s squeaky clean biopic about the famed gay rights activist marks a myopic and pandering misstep in the director’s filmography.
Both tactile and ethereal, Gus Van Sant’s skateboarding drama saw him expand upon his neorealist work that spanned the 2000s.
Without its own texture or style, Lars Damoiseaux’s Camp-adjacent feature debut exists in a vacuum divorced from its inspirations.
The former Daily Show host’s sophomore film is a dated, centrist screed that fundamentally misunderstands our current political moment.
A look at death as the great equalizer, Gus Van Sant’s Kurt Cobain-inspired drama looks at the decay from man to myth—but never legend.
The second doc about the disgraced lawyer in months makes the cardinal sin of avoiding its own viewpoints.
The director of Shirley talks about Elisabeth Moss, structuring scenes, and taking creative license with a real-life figure.
Olivier Assayas’ latest is a clunky thriller that resists cinematic convention to its detriment.
Ani Simon-Kennedy’s sophomore feature is a quiet, evocative trip, even if it doesn’t go as far as it could have.
Barbara Białowąs & Tomasz Mandes’ erotic drama has a truly gross premise and oodles of bad acting to leave you hot and bothered—or just bothered.
Channing Godfrey Peoples makes her debut with an emotional, inspiring tale of the complicated roads Black women must walk in America.
Bringing the works of Tarr and Akerman to modern America, Gus Van Sant’s drama about student life around a school shooting remains a vital work.
Patrick Vollrath’s feature debut shifts from Hitchcockian claustrophobia to tone-deaf xenophobia.
Shudder’s new anthology film pokes fun at horror cliches, but can’t quite overcome a dreary final segment.