If a James Bond or Mission: Impossible film excised all its action scenes––save a stray explosion or gunshot––while employing a script with a pop John le C...
“The world is a vampire” –– Billy Corgan, 1995
Before jumping directly into the action, Paul W.S. Anderson's In the Lost Lands opens with a framing de...
Three decades on from Brian De Palma’s gleefully unhinged psychological thriller Raising Cain, John Lithgow has once again found a cinematic role to showcase h...
Of all the directors who made the jump from music videos to feature-directing during MTV’s '90s peak, Michel Gondry is the sole name whose work hasn’t been abl...
Depending on who you ask, the cultural domination of the Walt Disney Company can be a wonderful thing or an inescapable nightmare. From Marvel to Pixar, 20th C...
Amongst the debut features populating Berlinale’s new section called Perspectives, none presented so admirably fresh take on fiction and political historie...
The first time I came across the name John C. Lilly I was––rather fittingly, for reasons that will become clearer in a minute––not exactly sober. Late in the n...
The last time Hong Sangsoo failed to feature in a Berlinale program, Childish Gambino’s “This is America” was in the charts and Green Book was on its way t...
Consider the logline: a 34-year-old, pre-diabetic, 250-pound, extremely anxious loner finds respite as a cleaning simp for dominatrices eager to belittle h...
The most significant change introduced by new Berlinale director Tricia Tuttle is the cancellation of the Encounters sidebar which hosted many arthouse gems su...
