Tag: top-stories
Exclusive: Trailer & Posters for Anita Rocha da Silveira’s Kill Me Please
Premiering at the 2015 Venice Film Festival (with subsequent important pitstops at SXSW and New Directors / New Films fests) Anita Rocha da Silveira’s much lauded feature...
Criterion Collection: Stalker | Blu-ray Review
Mystical, existential journeys appear in cinematic form every so often, sometimes challenging our understandings of the world around us as well as the social...
Interview: Bertrand Bonello (Nocturama)
We sat down with Bertrand Bonello shortly after the North American premiere of his controversial new film Nocturama, which competed at the 2016 Toronto...
Message from the King | Review
To Live and Die in LA: Du Welz Explores the Los Angeles Underbelly in Revenge Noir
Belgian auteur Fabrice Du Welz makes his English language...
Planetarium | Review
Night of the Shooting Stars: Zlotowski’s Mysterious Glance at a World on a Wire
As one character observes to another upon a chance reunion in...
Good Time | Review
White is Right: Pattinson Shines in the Grime of the Safdie Bros. Urban Squalor
American indie directors Joshua and Ben Safdie craft their most polished...
The Moderns (1988) | Review
Bujold’s last appearance with Alan Rudolph is in 1988’s The Moderns, a high-minded, sometimes amusing attempt to examine the potent ex-pat community of 1920s...
Trouble in Mind (1985) | Review
One of Alan Rudolph’s most idiosyncratic films is 1985’s Trouble in Mind, which features a buzzy ensemble of characters intersecting in the fictional Rainy...
Choose Me (1984) | Review
Of their three collaborations, the most intriguing Alan Rudolph film to feature Bujold is 1984’s Choose Me, which more or less focuses on two...
The Beguiling Bujold: The Quad Celebrates the Career of the French-Canadian Actress
A week-long retrospective sampling the impressive filmography of French Canadian actor Genevieve Bujold begins August 10th at The Quad, a cherry-picked bushel of cinematic...
After Love (L’Économie du couple) | Review
Tight on Space: Inside Lafosse's Claustrophobic Family Drama
Festival darling Joachim Lafosse returns with his seventh feature, After Love, a relatable but difficult film solidly...
Machines | Review
Navigating the sea of weathered faced laborers pulling in twelve-hour work shifts, Rahul Jain embraces the cinéma vérité aesthetic to relay a real time...
Brillo Box (3ȼ Off) | Review
What is Art Now? Skyler’s Personal Take on Warhol is Both Sincere & Insightful
Though the merits of pop artist Andy Warhol are still debated...
Video: Taylor Sheridan’s Wind River – 2017 Sundance Film Fest Post Screening Q&A
“Closure is this convenient thing we came up with in the Nineties.” – Taylor Sheridan
Seeing that his previous written work was also showed in...
Wind River | Review
A Shiver Runs Through It: Sheridan Helms Satisfying Final Segment of Crime Trilogy
Screenwriter Taylor Sheridan (Sicario, Hell or High Water) makes his directorial debut...
The Dark Tower | Review
Magic, the Smattering: Arcel’s Alchemy Proves Pointless in Pedestrian Adaptation
Arguably, expectations may have been set a bit too high for The Dark Tower, the...
Columbus | Review
Floating Weeds: Kogonada Looks at the Shape of Things in Masterful Debut
Kogonada, who may be familiar to most cineastes thanks to his video essays...
Kidnap | Review
Female of the Species: Berry Brings It in Middlebrow Action Drama
Playing like a throwback to 1990s studio thrillers starring Oscar caliber actresses navigating survival...
Detroit | Review
Horror Hotel: Bigelow and Boal Recount Grim Chapter of Racial Disparity
This year’s most harrowing horror movie, Kathryn Bigelow’s Detroit, happens to be based on...
Criterion Collection: L’Argent | Blu-ray Review
In more ways than one, L’Argent, the stunning final film of Robert Bresson, (anointed ‘patron saint of cinema’), plays like an eerie prequel to...
The Lovers | Blu-ray Review
A classy, complex affair, Azazel Jacobs scores his greatest achievement to date with The Lovers, taking a break from the adolescent, man-child ennui which...
Menashe | Review
Not Without My Son: Weinstein Crafts Tender, Orthodox Familial Drama
Graduating from documentary filmmaking to narrative cinema with Menashe, director Joshua Z. Weinstein examines universal...
Amnesia | Review
Never Forget: Schroeder Quietly Examines Cultural Identity in Isolation
In an intriguingly varied career, which was kick started during the early days of the Nouvelle...
From the Land of the Moon | Review
The Spa of Loneliness: Garcia’s Clunky Wartime Romance
Though she’s perhaps still best known as a prolific actress, Nicole Garcia has quietly built an impressive...
Atomic Blonde | Review
Hey There, Stoli Girl: Theron Crackles with a Cold War Climax
Giving new meaning to the term ‘blonde ambition,’ Charlize Theron steals the action icon...
Who the F**k is That Guy? | Review
When The Music Stops: Stone Plays Ghostwriter to Alago’s Autobiography
Ripping power chords and grainy black and white photos contextualize the atmosphere of the vibrant...
Rumble: The Indians Who Rocked the World | Review
Beat The Drum: Bainbridge & Maiorana Define the Source for Our Favorite Music
Rarely do documentaries so tactfully strike at the very heart of what...
Dunkirk | Review
The Art of War: Nolan Wages War of the Senses in Visceral Reenactment
On all accounts as noble a cinematic endeavor as it is sheer...
Interview: Amat Escalante (The Untamed)
After three features steeped in what would could describe as hyperrealism, Amat Escalante makes a slight deviation, introducing towards fantastical elements in his fourth feature film....
Kekszakallu | Review
A Man’s World: Solnicki Scores with Experimental Exercise in Ennui and Agency
Standing as the most enigmatic art-house debut to achieve limited theatrical release stateside,...
Footnotes | Review
The Tread Shoes: Calori and Testut Hoof through Musical Homage
Directors Paul Calori and Kostia Testut face something of an uphill battle with their directorial...
The Untamed | Review
The Pleasure Principle: Escalante Makes a Monster Mash with Distinctive Social Drama
The shadow of Andrzej Zulawski’s infamous erotic creature feature/divorce melodrama Possession (1981) looms...
The Midwife | Review
Midwife Crisis: Provost Squanders Fine Cast in Trite Melodrama
The essence of French director Martin Provost’s latest film The Midwife is supposed to revolve around...
Kill, Baby…Kill! (1966) | Review
The Little Girl Who Kills Down the Lane: Bava’s Boffo Ghost Story Heavy on Atmosphere, Light on Narrative
Of all the famed giallo masters, Mario...
Video: Marti Noxon’s To The Bone: 2017 Sundance Film Fest Post Screening Q&A
"I needed to grow a pair, I needed to hit bottom, I needed to decide to live for myself." - Marti Noxon.
A comedy about...
Song to Song | Blu-ray Review
Terrence Malick runs into his usual refrain in his latest, Song to Song, a film replete with aching, lost souls whose various interconnected narratives...
Muchachas de Uniforme (1951) | Outfest 2017 LGBT Film Festival Review
Girls Interrupted: Crevenna’s Lost Classic Resurrected in all its Melodramatic Glory
Although remakes have largely become the bane of the seventh art, how certain properties...
False Confessions | Review
Fair is False and False is Fair: Bondy’s Final Conquest Collapses Theatrical and Cinematic Convention
Cinematic adaptations of 18th century French novelist and playwright Marivaux...
The Conversation: The 2017 Venice & TIFF Vortex
As the fall festival circuit looms, anticipation is high for a number of items expected to premiere in the fourth quarter. Following a glut...
Video: David Lowery’s A Ghost Story: 2017 Sundance Film Fest Post Screening Q&A
"My tastes and interests run all shapes and sizes." - David Lowery.
Prior to being one of the most lauded films to come out of...
2017 Sundance Trading Card Series: #2. Jade Healy (A Ghost Story)
Eric Lavallee: Name me three of your favorite “2016 discoveries”.
Jade Healy: Photographer Robert Adams, the Brazilian musician Caetano Veloso, and the greek liquor “Tsipouro".
Lavallee:...
A Ghost Story | Review
Voyage of Time: Lowery’s Distinctive, Elegiac Treatise on Grief, Time, and Elusive Solace
Although it isn’t an actual adaptation of her short story, David Lowery’s...
The Skyjacker’s Tale | Review
Victim or Villain? Kastner’s Paradoxical Docu Goes Far, Not Nearly Far Enough
Coming across as a sort of hybrid between what one might find on the...
The Conversation: Top 20 Best Films of 2017 So Far …
At the mid-way point of 2017, the usual cinematic trends continue, with the best theatrical offerings from January through June mostly festival circuit offerings...
Sami Blood | Review
I Am Sami: Kernell Examines Sweden’s Colonialist History in Coming-of-Age Drama
Sweden of the 1930s was not the sterling template of Scandinavian progression for which...
The B-Side: Elsa Dorfman’s Portrait Photography | Review
Big Pictures Worth A Thousand Words: Morris and Dorfman Dig Through The Archives
Errol Morris’s interest in still photography is no secret, having written the Penguin...
Okja | Review
That’ll Do, Pig: Joon-ho’s Latest Creature Feature Gets Stuck on Itself
Following 2014’s post-apocalyptic microcosm Snowpiercer, South Korean auteur Bong Joon-ho returns to familiar territory...
Mifune: The Last Samurai | Review
The Hidden Mifune: Docu on Japanese Legend Hits Highs and Lows
The half century on-screen career of Toshirô Mifune is one of extravagant grace, pursuing a...
All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone | Review
Hiding in Plain Sight: Peabody’s Timely Indictment of American Journalism
The seemingly brash title of Fred Peabody’s latest documentary alludes to a turn of phrase...
Paulina | Review
She’s Having a Baby: Mitre Explores the Yoke of Victimhood in Uncomfortable Drama
Argentina’s Santiago Mitre scores his first international success with his third feature,...
