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[Cannes Review] Arabian Nights

Miguel Gomes’ Our Beloved Month of August and its ecstatically received follow-up, Tabu, showcased the director’s love of storytelling as a means of contemplati...

[Cannes Review] Macbeth

Justin Kurzel’s phenomenal debut, Snowtown, portrayed the most notorious serial killings in Australian history, the Snowtown Murders. Though nigh traumatizing i...

[Cannes Review] Inside Out

Ever since Disney and Pixar announced that they'd begun working on Inside Out, it was clear that the concept had a wealth of of potential. This, despite the stu...

[Review] Poltergeist

When little Carol Ann Freeling ominously intoned ‘They’re Here!’ in 1982′s Poltergeist, she wasn’t just announcing the fact that ghosts had discovered suburbia,...

[Cannes Review] The Assassin

The Cannes Film Festival represents the pantheon of arthouse cinema, so it does raise eyebrows when a wuxia movie is included in its official selection. After a...

[Cannes Review] Mountains May Depart

Though vastly more moderate than its predecessor, the ultra-violent A Touch of Sin, Jia Zhangke’s Mountains May Depart continues the director’s move away from t...

[Montclair Review] Most Likely to Succeed

There has yet to be a great documentary about education reform. A politicized issue if there was ever one, Greg Whitely, director of Mitt and New York Doll trie...

[Montclair Review] In My Father’s House

Amongst the national conversation we’re having about race is a topic a topic often glossed over amongst the conservative talking point of “accountability." Yes,...