Anyone transfixed by the hyper-stylized meathead triumph of blood and violence of Brawl in Cell 99 should be warned. Dragged Across Concrete, S. Craig Zahler’s ...
When Vincent Van Gogh stares at the flat southern France landscape in Julian Schnabel’s contemplative At Eternity’s Gate, what does he see? Cemeteries of dead s...
With all the toing and froing over Netflix and Lars von Trier in the lead up to this year’s Cannes Film Festival, Thierry Fremaux's remarkable decision to rejec...
There comes a telling moment near the beginning of The Mountain when Jeff Goldblum's doctor turns to his newfound apprentice to explain the workings of a camera...
A mainstay in French for almost 40 years, Jacques Audiard frequently chronicles criminals and convicts (or ex-criminals/ex-convicts) trying to either navigate a...
The question that Hermann Vaske has asked for over two decades is a large one. Why Are We Creative? There's no blanket answer — no right or wrong notion of the ...
Luca Guadagnino does a lot of things very, very well. Indeed, it is hard to think of a working director more adept at capturing the tactile delights of stuff li...
Eyebrows were raised when the venerable contributors of Sight & Sound named Twin Peaks: The Return the second-best "film" of 2017 despite the fact that only...
As the Hindu folktale at the start of Rahi Anil Barve and Adesh Prasad's Tumbbad states: while the Goddess of Plenty birthed 160 million deities from her womb (...
Surprise may not be the first reaction you’d expect to have when watching the umpteenth remake of a romance as old as Hollywood itself, but the adjective proves...
