Tempting though it is to pen this review in the voice and style of Mort Rifkin, the most indelible Woody Allen character in years, the embattled New York-born ...
It’s one thing to ask a casual soccer fan if they've ever heard of the 1971 Women’s World Cup and hear a “No.” It’s another to get the same response from two-t...
Pete Gleeson’s 2016 documentary Hotel Coolgardie came and went on the festival circuit, but it made a strong impression on those who caught it. Following two y...
It’s 2023 and the early 2000s are having a moment: blog rock is being celebrated, nü metal is back, and Emerald Fennell––perhaps recognizing this vibe shift––s...
One night in 2016, I was working at a small movie theater in Austin, Texas, when a man leaned over the cash register and shook my hand. “Thanks for tonight,” h...
“The only difference between children and grown-ups is that the grown-ups are unsupervised.” This line, uttered in the second half of Bill Ross IV and Turner R...
If “Rear Window meets Life Is Beautiful” sounds like an all-timer of a cursed elevator pitch, then there’s nothing Michael A. Goorjian’s well-intentioned crowd...
The second part of this year’s Venice Film Festival shines with at least two firsts: Ava DuVernay is the first African-American female director competing for t...
Politics are the enemy in Gábor Reisz’s Explanation for Everything, an ambitious, entertaining effort from the Hungarian filmmaker to address the crisis of div...
If the joy of art is that it can be interpreted in infinite ways over time, then is a project which “remixes” classic movie scenes by forcing them into the cur...
