In David Cronenberg's adaptation of Cosmopolis, a novel by post modern author Don DeLillo, the Canadian filmmaker tackles a dense criticism of capitalism, greed...
Operating on a level of ridiculousness so high it suggests possible intention, Lee Daniels' The Paperboy is trash pile packed high, high and higher still. Adapt...
While strange for a Men in Black film to open with something other than a crashing spaceship, I'll admit to being ecstatic for the alternative. Having the sexy ...
In Ben Wheatley's third film Sightseers, the British director, known for taking scenes of normalcy and then spiking them with extreme violence, continues his st...
In Leos Carax's (Pola X) delightfully surreal Holy Motors, the filmmaker seems to be channeling the absurd sensibilities of Luis Buñuel in his prime. Having not...
The problem with On the Road, directed by Walter Salles (The Motorcycle Diaries), is that it wanders, and in no real direction. Of course, that's the whole poin...
Iranian filmmaker Abbas Kiarostami made a major splash at the 2010 Cannes film festival with his first feature film shot outside of his home country of Iran, Ce...
Takashi Miike (13 Assassins) is perhaps one of the most prolific filmmakers working in contemporary cinema today. He averages about 3 to 4 films a year and has ...
Pablo Larraín (Post Mortem) has achieved something spectacularly unique with No, his beta-max rendition of the 1988 referendum vote in Chile concerning dictator...
After making big waves with his Dogme classic The Celebration in 1998, Danish filmmaker Thomas Vinterberg has made a handful of flawed and underseen films, whet...
