Perhaps in another version of Takashi Miike’s latest film (and his first to be receiving a proper US distribution deal since 2011’s 3D extravaganza Hari-Kiri), ...
Climate change deniers say a lot of ridiculous things, but there’s one specific straw man argument they frequently fall back on that is so insulting in its ridi...
In an episode of my podcast, The Cinephiliacs, colleague Vadim Rizov noted a humorous but mostly essential statement when describing his disappointment with the...
While not technically made under the auspices of the Harvard Sensory Ethnography Lab, The Iron Ministry, directed by associated member J.P. Sniadecki, begins wi...
The heady, emotional lyrics of Nina Simone’s Blackbird keep rising up under the skin of Gina Prince-Bythewood’s Beyond the Lights, revealing the earnest, strivi...
The thirty-one-month gap between the theatrical releases of 2011’s J. Edgar and this year’s Jersey Boys marked the longest such stretch in the forty-three-year-...
She is not kidding when she says: "To those who feel that their cruelty is too cruel, their sadness too sad, I dedicate this film: an embrace." Writer/director ...
At one point early in Wim Wenders' new documentary, The Salt of the Earth, the co-director details his deeply emotional connection to photographer Sebastiao Sal...
Not even the movie that started it all can save the fledgling career of the Farrelly brothers. Despite reading an interview of them speaking about how great the...
The feature debut of writer/director Rita Merson is mired in convention. Think to yourself about five cinematic tropes that could be found in a romantic dramedy...
