It’s a terrible, horrible, no good, very bad day for Steve (Cillian Murphy). As the headmaster at Stanton Wood, a boarding school for troubled young men, he sh...
Coming-of-age tales are a genre with little recent innovation. Yet Singaporean-American filmmaker Siyou Tan finds remarkable specificity and novelty in her Sin...
At barely two years old, Harmony Korine’s “post-cinema” company EDGLRD is already branching out. After directing AGGRO DR1FT and Baby Invasion, Korine take...
My friend (and Film Stage Managing Editor) Nick Newman likes the term “counterfeit money” to describe certain movies. Be it The Batman or Ben Affleck's oeuvre,...
The past rears its not-so-ugly head in Two Pianos, Arnaud Desplechin’s latest film exploring the ways gorgeous people make an even bigger mess out of the m...
You can’t accuse John Early of not committing. Through the majority of his acting career, the comedian has become a reliable avatar for a palpable, toxic, ...
It’s a fleeting, impermanent moment. At a concert, Fleur (Nina Meurisse) locks eyes with Julian (Laurence Roothooft) just as she takes her seat, and suddenly a...
Is the idea of a Claire Denis film changing? There was likely an image one formed in their head when that name emerged: elliptical, sexy, avant-garde. Yet rece...
You might wonder if you're watching the wrong movie during the prologue to Ben Wheatley's Normal. The setting is Japan, three Yakuza are being reprimanded by t...
Eight years since Zama and more than two since she shared details, Lucrecia Martel has returned with her first feature-length documentary, Landmarks (Nuestra T...
