At a time when western cinema is in its most self-consciously liberal mode ever, it’s hard not to have mixed feelings about Martin McDonagh's The Forgiven, yet...
Based on a New Yorker short story, Spiderhead has the low-stakes but high-concept feeling of something probably closer to an episode of Star Trek: The Next Gen...
Something that genuinely can be described as a passion project, the new stop-motion animated film, Mad God has been with legendary visual effects artist Phil T...
Around the inception of Cahiers du Cinéma François Truffaut coined a term, “cinéma de papa,” to describe what he and cohorts sought to rebel against: the domin...
One, perhaps foolishly, comes to a new Adam Sandler picture in the post-Uncut Gems phase of his career with at least some expectations. And one would think his...
Sometimes it can be a little sad to watch a director blatantly make a bid for mainstream American acceptance (or rather future Marvel gig), and in the case of ...
So here we are: another entry in Sony's not-quite MCU, not-quite Spider-Man multi-villain series following the two oddly (but rightly popular) Venom flicks. Ba...
Entering the “likely a money-laundering scheme for Spanish businessmen” part of his European travelogue era, Woody Allen turns uniquely narrow-minded and bitte...
Articulating why it’s easy to agree with writer-director Adam McKay’s politics while disliking his films isn’t so hard. Though a smart man who can hold his own...
Michael Bilandic’s cinema has, over the course of four very small-scale features, staked out a distinct corner in indie film. Focusing on niche interests—be it...
