It’s all about perspective. Six great months living the rest of your life to the fullest or twelve miserable ones trying to survive? Sacrificing present happin...
In just over a decade, Mike Flanagan went from promising indie director to one of the best American genre filmmakers working today. Starting with Absentia and ...
Chatting with the head of a prominent documentary-production company recently, I asked if hybrid filmmaking had reached its natural limit. Could it conceivably...
In this year’s diverse line-up of Venice competition titles, there is one that stands out. A film without any predecessors or useful comparison-companions, a t...
“I’m older––I’m not old,” says Shelley, the longest-term performer in a past-its-prime Las Vegas revue. She is played by Pamela Anderson, the international ico...
Mike Leigh is nothing if not an expert at conceiving (in conjunction with talented actors) a certain kind of larger-than-life character. Well, larger-than-life...
There was slight trepidation going into Bonjour Tristesse. Justifying itself as another “adaptation” of Françoise Sagan’s text rather than remake of Otto Premi...
Where’s the filth? I wrote down the question on page two of my notes, roughly about when Queer entered its second chapter, sending Lee (Daniel Craig) and his y...
After taking a bit of a break, not appearing in a film since 2022's Disenchanted, Amy Adams is back in full force this fall, leading Marielle Heller's A Beauti...
With the Toronto International Film Festival starting, there’s plenty to look forward to on the feature front. There’s also much room for discovery among Short...
