You Can See Everything
Brilliantly sits at the intersection of documentary, narrative, comedy, reality TV and performance.
Brilliantly sits at the intersection of documentary, narrative, comedy, reality TV and performance.
On three very different films from this year’s Colorado event.
Elegantly told and rich in meaning, “Fatherland” is a beautifully derived piece of heartbreaking art.
On the surface, it’s an adventure flick, but the story has spiritual and emotional depth that gives Tenzing’s life mission universal resonance.
Unafraid of executing its simple formula: Let the actors carry the film.
Centering the plot on those affected, as opposed to those who commit crimes, gives voice to an increasingly common, complex experience.
On three Venice premieres, including the latest from Danny Boyle and Robert Greene.
A gripping account of an obsessive climb, driven by grief and a need for catharsis.
Taken as a 10-part whole, it’s one of the most remarkable studies of the amplified rollout of fascism in film history.
Some of the best acting ever done by Malkovich, Rockwell and Buscemi, and one wickedly quotable line after another.
It’s gloopy, gory, and greasy, which is all you might want from a zombie movie. But it feels like it wants to do more, and comes up short in the bargain.
A look at the daring retrospective program from this year’s Locarno.
Two competition gems and a major whiff playing Locarno.
On three films from this year’s festival that grapple with mortality.
On three elusive films from this year’s festival.
It’s a film that owes equal debts to “Sunset Blvd.” and “Jason X,” which means it’s pretty special.
Reflections on this year’s genre festival, and some highlights we haven’t mentioned yet.
Star Trek, Pan’s Labyrinth, and Air Bud Returns – there’s nothing quite like Comic-Con.
Tales of identity and becoming take both gory and gossamer forms in this latest dispatch from the fest.