Since the early aughts, South Korea has been one of the most prolific and exciting exporters of genre cinema, giving us such indelible gems as Oldboy, The Host,...
A "religious western" is how Moroccan-based Spanish director Oliver Laxe describes his second film, Mimosas, winner of the top prize at Cannes' Critics’ Week. I...
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...
There’s a certain kind of charm that comes from the kind of potentially mob-affiliated working class that you find in pockets of neighborhoods at the heart of t...
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...
There are few conversational taboos more likely to cause arguments than sex offenders. For some, the mere mention of their existence is enough to make blood bo...
Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being medi...
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...
