The fashion raconteur is the subject of an unfortunately superficial biographical doc.
A miscast Elle Fanning leads this disappointingly bloodless would-be romance.
Gillian Jacobs, Vanessa Bayer, and Phoebe Robinson’s girls’ trip comedy feels more like watching a Snapchat story than a movie.
Even jury president Cate Blanchett noticed.
The songs, murders, and lesbian love stories that have stuck with us.
There’s a good idea for a film somewhere in Terry Gilliam’s long-gestating product.
Hirokazu Kore-Eda delivers another layered, intimate story, this time about a poor Japanese family that lovingly kidnaps an abused girl.
Kevin Macdonald’s film attempts to deconstruct Whitney Houston without ever really painting a compelling portrait of her.
Lebanese filmmaker Nadine Labaki’s tragic childhood tale is fabulous filmmaking, but a lot to endure.
Saoirse Ronan stars in another Ian McEwan adaptation, but don’t hold your breath for another Atonement.
John Cameron Mitchell’s new movie has a great logline, but poor execution.
Lee Chang-dong’s moody mystery is based on a Haruki Murakami short story.
If this is the Girls Trip of 2018, we’re not doing so shabby after all.
Andrew Garfield stars in the oddball L.A. mystery from It Follows director David Robert Mitchell.
Cannes’s “persona non grata” returns to the festival with a violent, banal, navel-gazing session.
From its bombastic title on down, Spike Lee is in stylistic conversation with the blaxploitation genre.
It’s like if you turned Step Up into a horror flick.
“Women are not a minority in the world, yet the current state of our industry says otherwise.”
Jia Zhangke’s latest portrait of recent Chinese history is a long, strange, lovelorn trip — maybe a little too long.
Pawel Pawlikowski’s follow up to the Oscar-winning Ida is a passionate heartbreaker told through music and across decades.
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