The Big Sick went over big at Sundance, where many critics praised it as a genuinely emotional twist on standard romantic comedy cliches. In our review, we ...
After releasing Krisha, one of the best directorial debuts of last year, A24 also backed writer-director Trey Edward Shults' follow-up It Comes at Night, an...
While news stations attempt to cover the Black Lives Matter movement and the injustice stemming from its formation, the most thorough documents tend to be f...
Throughout his career, director Steve James has excelled in taking person stories of struggles (in many forms) and conveying them in a relatable, but no les...
About twenty minutes ago I stepped onto 32nd St. between Madison and 5th Ave. for all 15 seconds, in which time I caught sight of an MTA bus bearing somethi...
After his black-and-white period romance-drama Frantz recently got a release here in the United States, the prolific François Ozon (Swimming Pool, In the Ho...
One of Federico Fellini's most acclaimed films has been given a new 2K digital restoration, and if you're in the U.K., you are lucky enough to be able to se...
Documentary extraordinaire Errol Morris is back with The B-Side: Elsa Dorfman's Portrait Photography. The Thin Blue Line and The Fog of War director’s focus...
His acolytes, of which there is a rabid group, will contend that his entire career is success after success, but it still feels safe to say Philippe Garrel'...
Few Cannes titles intrigue as highly as the festival's opener, Ismael's Ghosts, which writer-director Arnaud Desplechin (following up My Golden Days) told m...
