Bridey Elliott’s film strikes veins both horrific and comedic, without ever quite settling down to any genre.
How the VFX industry plateaued — and where it might go from here.
A number of this year’s most important films have turned on taking familiar genres and finding ways to infuse them with both artistry and resonance.
Its world feels so lived-in, its characters so engaging, that you often find yourself wondering about what they’ll do once the cameras stop rolling.
Let us discuss.
Mowgli at times feels — and I mean this as a compliment — like the psychic runoff hiding beneath Disney’s colorful, kid-friendly Jungle Book.
We rank the movies that made the best use of one of the most overused horror clichés: a presumed-dead villain coming back for one final shock.
On the late director’s fearsome, beautiful films and the Last Tango in Paris controversy that haunts him, even in death.
It’s got Colin Firth and Rachel Weisz in top form, and The Mercy nails the emotion, but comes up somewhat short as a narrative.
“If I don’t fall in love with my characters,” said the director, “I cannot shoot.”
Creed II is pretty rough around the edges, in a way that the blisteringly confident and unexpectedly stylized Creed was not.
Amid all the exposition and setup, nobody really seems to do anything.
Don’t be surprised if the Mark Wahlberg–Rose Byrne foster-care epic makes a trillion dollars.
Jonathan is good enough for us to want it to be better.
The long-buried documentary, which Franklin blocked from theaters, is finally being released.
The legendary director’s career was filled with incomplete projects, reaching all the way back to before Citizen Kane.
Where we might expect escalating lunacy, Mantzoukas and director Hannah Fidell bring … something else.
Mostly, it offers a touching opportunity to enjoy the increasingly rare sight of a wicked one seeing the error of his ways.
Morgan Neville gives us a sense of just how much Orson Welles transformed over the years, both intentionally and unintentionally.
Not caring about narrative structure means Tyler Perry can let Tiffany Haddish go to town for long stretches.