In rural New Zealand, Hoaggie (Erik Thomson) rides in the passenger seat. His wife, Jill (Miriama McDowell), is driving and their sons Maika (Billy Paratene) a...
One of the most succinct, yet heavily weighted lines of dialogue in cinema history is a three-syllable call to death: “Time to die," as Rutger Hauer’s Roy Batt...
The 57th directorial credit in his vast filmography, Sion Sono's Prisoners of the Ghostland premieres at this year’s Sundance before his 56th, Red Post on Esch...
Set in the meeting room of a modest Episcopalian church, two couples meet under tragic circumstances. For his directorial debut Mass, accomplished actor Fran K...
There’s something very crass about Cusp, and almost all of that comes from its design. It’s aimless like its subjects, and it’s even more hopeless. Everyone wo...
Pop culture, entertainment, hedonism—they’re all different sides to the same brain atrophy. Well, that’s how Sebastian (Bartosz Bielenia) sees it. He’s a 20-ye...
Superior begins with a woman in a bright red jumpsuit sprinting away from a violent man, intercut with another woman, at home, frying an egg. It might not imme...
In How It Ends, there’s a lot of talk about seeing somebody “in the next life.” The movie, created together by partners Zoe Lister-Jones and Daryl Wein, was wr...
Considering the raw, uncomfortable truths found in Jerrod Carmichael’s comedy, the logline of his directorial debut shouldn’t come as a surprise: two friends m...
There is a stellar moment in Mark Harris’ stunning new biography Mike Nichols: A Life in which the director’s early 70s oddity The Day of the Dolphin is releas...
