Passing away in April of last year, Japanese director Nobuhiko Obayashi left behind a surreal, fascinating body of work. While he was most known for his Criter...
Neill Blomkamp’s sci-fi work finds its chief pleasures as a cinema of the hyperreal. Aliens, robots, and impossibly cool implements of destruction exist fiftee...
November's a major month for Criterion, who round out 2021 with an induction into the 4K market. Surprising precisely nobody, all 2,160 pixels of their Citizen...
Spike Lee's best film this century is not 25th Hour; it's not Inside Man; I'll defend Oldboy but, come on; it's definitely not American Utopia; and whatever a ...
Joel Coen and Steven Spielberg aren't the only filmmakers drawing from William Shakespeare as of late. Matías Piñeiro, who has playfully done so for much of hi...
Welcome, one and all, to the latest episode of The Film Stage Show! Today, Brian Roan, Bill Graham, and Robyn Bahr are joined by Sheri Linden to discuss the ne...
One of the more ambitious films I saw at Sundance Film Festival earlier this year was Lyle Mitchell Corbine Jr.'s Wild Indian. Featuring a stellar performance ...
There are two types of people in this world: those who find a 90-minute romantic comedy musical with a 90-second song serving as an intermission break twee; an...
It's been ten years since Bull's (Neil Maskell) son Aiden was taken by his ex-wife (Lois Brabin-Platt's Gemma) and father-in-law (David Hayman's Norm). Ten yea...
I'm not sure what I just saw. Was it surreal comedy in a setting that exudes sympathy puke aura? Was it a nightmarish horror sending us down a chaotic rabbit h...