Past its hyperreal presentation designed for 120 frames per second, Ang Lee delivers a soft-toothed war satire with dollops of his trademark pathos.
Clint Eastwood’s SULLY is much more than simply a celebration of dutiful bravery—it’s deeply obsessed with the anxieties of the career individual.
THE BFG’s collision of two creative giants, Steven Spielberg and Roald Dahl, is a better refraction of the director’s work than the author’s, but fascinating viewing nonetheless.
The latest venture from writer-director Jim Jarmusch is a joyous ramble that finds delight in the simple act of observing.
For all its lavish production design, the latest Disney adaptation of Lewis Carroll’s ALICE stories is plagued with both bustle and boredom.
Stephen Frears’ take on the story of a New York socialite’s unlikely singing career cheerfully toes the line between mocking the notion of bad art and becoming it.
We spoke with Amy Simmons, author of a new book on Lars von Trier’s ANTICHRIST, about the film’s legacy, her interest in the project, and von Trier’s greater body of work.
We spoke with filmmaker Michael Robinson about his new film MAD LADDERS, his work, inspirations, and the time the divine manifested itself in Pee-Wee’s Playhouse.
Ahead of the release of THE FORCE AWAKENS we present this mix of weird and wonderful musical knock-offs of John Williams’ STAR WARS score.
Vin Diesel’s passion project fantasia is an unfortunately straight-faced film, complete with an underused cast and a dull script.