Happy End is a perplexing title for a movie by Michael Haneke, a filmmaker not exactly known for his irony whose endings have ranged from the death of all the c...
A dystopian story about a genetically engineered beast with overt anti-capitalist connotations, Bong Joon-ho’s Okja represents a synthesis and an upgrade – in s...
A shot late in Andrey Zvyagintsev’s Loveless encapsulates both the film’s overarching message and its author’s bludgeoning directorial approach. One of the prot...
Pasolini included an “essential bibliography” in the opening credits of Salò, or the 120 Days of Sodom, proffering five philosophical titles by the likes of Rol...
Paul Schrader might want to consider expanding his thematic scope a little. Decade after decade, film after film, regardless of whether he’s been writing script...
Considering the heights he’s reached in the past, Graduation constitutes a disappointing step backwards for erstwhile Romanian New Wave front-runner Cristian Mu...
Excessively schematic plotting is a recurring weakness of writer-director Asghar Farhadi’s work. Films like About Elly and The Past suffered from contrived narr...
It takes all of zero seconds for the first rape to occur in Paul Verhoeven’s Elle. The film opens on a black screen and to the sounds of breaking glass and stif...
Laura Poitras’ greatest strength as a documentarian is winning the trust of high-profile individuals and getting them to appear in front of her camera. In her r...
The problem in trying to critically assess Nicolas Winding Refn’s putrid atrocity of a film The Neon Demon is that regardless how much outrage is thrown at it, ...
