review
By Leo Goldsmith | March 29, 2017

It is hard not to perceive something darkly subversive in the making of a film in which a beloved cinematic icon sits in bed, made up like a poodle and festooned in wig, frills, feathers, and fabrics, rotting away from gangrene while a whirlwind of bland and ill-equipped hangers-on try vainly to keep him preserved.

review
By Jeff Reichert | March 24, 2017

What happens when audiences have come to expect long-simmering, historically engaged Gesamtkunstwerks from a filmmaker and then are treated rapid-fire to a series of increasingly ungraspable present-day love stories? What is Malick doing in To the Wonder, Knight of Cups, and Song to Song, and why now?

interview
By Eric Hynes | March 24, 2017

Cinema does film the invisible. You don’t have to believe in the invisible—it’s factual that film images capture something more than what you’re shooting.

review
By Lauren Du Graf | March 22, 2017

By centering on Helen, the film has a feminist streak, a badly needed course corrective for a musical genre whose histories overwhelmingly stem from the perspective of men worshipping at the altar of other men.

review
By Kelley Dong | March 17, 2017

Kore-eda has explained that his latest film, After the Storm, is an unofficial sequel to his 2008 drama Still Walking. Both films contemplate the fresh wounds left by a deceased family member on the living; the former takes place over the course of a single day, the new film over several weeks.

review
By Chris Wisniewski | March 8, 2017

Assayas seems to have conceived this film as several genre pieces in one (a pseudo horror, a psychological thriller, a melancholy drama about grief), but each of these strands, incomplete in its way, serves a grander and fully realized purpose in the larger ontological excavation of Maureen.

interview
By P.M. Cicchetti | March 2, 2017

It is important for me to work without a locked script, and without giving strong directions.

review
By Jon Hogan | March 1, 2017

Conceiving this project after giving a guard team permission to use his music in 2008, David Byrne enlisted the Ross brothers, with their actively observant style, to document this evening, melding two art forms into a new type of performance.

review
By Nick Pinkerton | February 24, 2017

The premise serves as a malleable metaphor: the white coopting of black cool, cited as one of the reasons for the selection of exclusively black targets; the ongoing use of unwilling black bodies to perform white labor from plantation to penitentiary; and the pressures of conformity borne by the blacks living among white affluence.

review
By Keith Uhlich | February 16, 2017

There are pretty pictures, some interesting in broad-stroke conception, that are nonetheless leeched of those intangible qualities that would lend them genuine grandeur and thematic heft. As a result, they just sit there, heavy on the eyes, light on the heart and mind.

review
By Michael Koresky | February 2, 2017

With the tone and care of the genuinely righteous, his voice was that of a herald, with writing that sliced through hypocrisy and the specific, tragic banality of American life with a swift condemnation that managed to touch the sublime.

review
By Justin Stewart | February 2, 2017

There is high public interest in stand-up comedy, evidenced by the popularity of Louie, The Aristocrats . . . the ability of comics like Hannibal Buress and Amy Schumer to make headlines and the preponderance of specials on streaming services like Netflix. But the subject has been a hard nut for narrative features to crack.

review
By Adam Nayman | February 1, 2017

The opening scene of The Lure cleverly reverses the age-old relationship between sirens and their prey. It hints that it is the fishtailed siblings who are being musically mesmerized, rather than the other way around.

interview
By Matthew Eng | January 27, 2017

Audiences usually put themselves in the shoes of the good characters. They never put themselves in the shoes of the person who has done something wrong. And there is no challenge when you put yourselves in the shoes of the good people.

review
By Michael Koresky | January 19, 2017

Staying Vertical is an aggressively conceptual cycle-of-life saga that brings the director back to his earlier model, in which characters ramble through a freeform narrative with no fidelity to logic.