Never exactly the crown jewel in the dystopic cinematic YA pyramid of The Hunger Games, The Maze Runner and The Divergent Series, from the beginning, the latter...
We talk to Nichols about his script-writing philosophy, letting child actors do their thing, his love for car chases, and his upcoming period piece....
Near the end of his essay for the Criterion release of Dazed and Confused, Kent Jones writes, “ Linklater has a keen, poetic memory for exactly how we did nothi...
Kelly Reichardt’s River of Grass is a “lovers on the run” film, but the main characters aren’t lovers, and their version of the lam is spending a few days at a ...
Though she was popular nearly a century ago, Florence Foster Jenkins feels particularly relevant to modern art’s ongoing dialogue with awfulness as a version o...
It’s startlingly easy to forget that America is still at war, and while the minutiae of the definition has shifted with the decades, it’s a persistent influenc...
It’s tempting to want to give too much credit to Alex Proyas’ Gods of Egypt for sheer invention. Not since last year’s polarizing belly flop, Jupiter Ascending,...
John Hillcoat is going to make a great film someday. Each of his last three films (Lawless, The Road, The Proposition) have skirted this quality to various deg...
Stephen Chow is the rightful successor to David Zucker and Mel Brooks. He doesn’t possess the same mainstream cachet, but the Chinese auteur has built a career ...
Modern faith-based filmmaking generally falls into two categories: dramatically inert contemporary parables and stubbornly reverential biblical adaptations. So...
