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...
While Terrence Malick happily toils away on year five of editing his Biblical epic The Way of the Wind, he's found a number of artistic diversions in recent ye...
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...
After seven long years following the one-two, varied punch of Midnight Special and Loving, director Jeff Nichols is finally back. The Bikeriders––bringing toge...
Shrouded in a veil of secrecy up until its Japanese release this past July, Hayao Miyazaki's first feature in a decade and potentially the 82-year-old director...