What a deft, lean storyteller this Paweł Pawlikowski has become. The five-year gap between his latest film, teasingly titled Cold War and given a berth in compe...
If it can, should a film lay its foundation on intertextuality? The question being: can you believe two people are in love because you are told, not because you...
Disregarding the vomitus of clichés with which Asghar Farhadi introduces the rural Spanish milieu of Everybody Knows, for the first half-hour or so, the Iranian...
The coming of age dramedy is a crowded genre with many seminal works established in the 70s and 80s. It's tough to therefore see any entries without comparing t...
The front half of Coralie Fargeat's debut feature Revenge provides audiences the sort of sensory overload that hits like a sledgehammer. You might not think thi...
When the seemingly interminable (ahem) Terminal draws to close, it is hard to fight the feeling that there might not be a bigger cinematic misstep this year. An...
The narrative directorial debut of film scholar, curator, and documentary filmmaker Kent Jones elicits an awful lot of anticipation. Often, first features conta...
Arrested and charged with a felony assault simply for bruising the fragile ego of Waller County, Texas officer Brian Encinia, Sandra Bland would later end up de...
A few minutes into Donal Foreman’s The Image You Missed, a voice-over comes to an abrupt stop: “each film is a mission impossible, but this one here, it was the...
After loving their first collaboration (Juno) and disliking their second (Young Adult), I didn't know what to expect with director Jason Reitman and writer Diab...
