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...
Amongst the debut features populating Berlinale’s new section called Perspectives, none presented so admirably fresh take on fiction and political historie...
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...
The fact that only two German films were selected to compete at the 75th Berlinale raised some eyebrows and sparked interest in the pair of sophomore features ...
In one of many well-executed nods to Once Upon a Time in Hollywood, Cinerama-style red and blue credits play over a black screen to sizzling '60s surf rock, a ...
When reading Claude Lanzmann’s 2009 memoir The Patagonian Hare, director Guillaume Ribot was struck by insights into making the monumental Shoah. The book ...
