Birney discusses where he sees connective tissue between cinema and video games.
For Good is never really emotionally affecting, even on the level of nostalgia.
The film creates an ouroboros where the future and the past circle back on one another.
The filmmaker discusses his influences and inventing weird ways to kill people.
Keeper is a latter-day Perkins horror film through and through.
The actors discuss how they approached the lightly satirical elements of Joachim Trier’s film.
The film delicately teases out its characters’ intersecting ambitions and intertwined fates.
This biblical fantasy’s dreary, static solemnity invites comparison to Robert Eggers’s work.
Wright lends verve to the film’s action, but his expansion of the novel is a ruinous one.
The film’s convoluted plot is one big MacGuffin leading to the thwarting of a cartoon villain.
The film attests to hope being a resource worth preserving in dark times.
Laxe and López discuss what they took away from grappling with the imminence of death.
Lee’s adaptation of Kokuho takes a novelistic approach to scene and character.
Sachs and Rosenkrantz discuss what attracts them to the everyday lives of artists.
The action is inventive and heart-pounding, but it’s also the least surprising part of the film.
The film is more than a reflection on barriers and bridges in the age of screen omnipresence.
The scrappiness that animates Sweeney as an actor finds natural expression through Martin.
James Vanderbilt’s film is in direct conversation with the moment in which it was made.
Jude discusses why cinema being in a state of constant crisis exhilarates him.
Hedda is more of a fun exercise in inventive adaptation than a fully-realized work.
The film is a fevered look at a man on the run from his crimes and himself.