If you combine Blue Ruin’s lack of a clearly discernible story and exercise in genre with Jauja’s teases of magical realism and self-consciously mythic narrativ...
Before much of the country has gotten its chance to see Me and Earl and the Dying Girl, Variety has already reported that director Alfonso Gomez-Rejon's fo...
It's been nearly seven years since Fabrice Du Welz unveiled Vinyan to mixed reception at the Venice Film Festival, but early reviews of Alléluia, which prem...
By now, the lengthy following shot to open a film is an art-house approved cliché. But in The Fool, Yuri Bykov complicates the shot in a way that makes it feel ...
For Franz Kafka, The Castle is about the plight of the individual within oppressive societal customs and the absurd attempt to reach an unattainable. Michael Ha...
A Great Man is divided up into five chapters, the first four of which trace the latter half of the first chapter’s “Hamilton and Markov” duo, while the final, f...
To the right crowd, there are a lot of familiar faces in Benjamin Crotty’s Fort Buchanan, a look into the life of a number of mostly-sexually frustrated army sp...
There is much talk about whether Li’l Quinquin, the latest from Bruno Dumont (Camille Claudel 1915, L'Humanité, Flandres) is a TV series or a film. It was commi...
2014 was a good year for films. I began this feature exactly the same way I did last year. What does that even mean? I suppose it means that there were lots o...
After Lev (Bret Roberts) decides Frankie (Amy Seimetz) is a bit too drunk and leaves the bar, she finds herself in the car with another man who subsequently rap...
