The summer studio comedy drought continues with The House. Although occasionally funny, it’s a minor entry into the canon of Will Ferrell’s usual brand of humor...
The B-Side: Elsa Dorfman’s Portrait Photography winds up feeling in many ways like the much-talked about concept of its protagonist. That is to say, the stuff l...
Full disclosure: I have seen neither Despicable Me nor Despicable Me 2, but the franchise’s third installment kind of makes me want to. Now let me set the recor...
What will future generations make of the way in which dating moved from the world of the corporeal to the digital realm in the 21st century? Will the process of...
Despite the fundamental truth that art is, at the most elemental level, unnecessary to survival, its unequivocal power to reward the soul and imagination proves...
While much attention has currently (and rightfully) been drawn toward Bong Joon Ho’s Okja within the realm of human-and-beast cinema, Kirsten Tan’s Pop Aye is a...
Whether or not he is, in fact, the first person who thought to create rhythm between non-diegetic music cues and diegetic gunshots, the gesture is but a plethor...
War for the Planet of the Apes is the most serious film ever made, or at least comes across that way with every decision made by director and co-writer Matt Ree...
Escapes isn’t the only Michael Almereyda film showing at BAMcinemaFest this year. In fact, it’s not even Almereyda’s only festival entry dealing with memory (th...
Discussing the ways in which fiction films shift between their linear, wholly narrative impulses and something approaching ethnography is among the most illumin...
