The shoot went on for five and a half years, with brutal winters, actors threatening to quit, and the director suffering a heart attack.
It nestles a playfully meta rom-com satire inside what appears to be another rom-com — and suggests that, maybe, such movies still have their place.
The doc explores Eureka Springs, Arkansas, a Bible Belt destination where religion and queerness have become intertwined in fascinating ways.
Shudder’s new documentary about the history of black people in the horror genre is a powerful reclamation project.
It’s the latest (and last?) Neeson-starring entry in the middle-aged-man-goes-on-a-killing-spree sweepstakes.
Untogether is seeking to provoke. But that’s about as racy or intimate as it gets.
“Honestly it was so, so gross. I could not emphasize to you — because it looked so realistic and because the arm was so heavy.”
Including The Souvenir, The Farewell, We Are Little Zombies, and Animals.
“I read the script and didn’t understand a fucking word of it.”
Nicolas Pesce’s latest, starring Mia Wasikowska and Christopher Abbott, is alternately alluring and repellent.
Bannon may bloviate and backslap all he wants, but The Brink’s message is clear: his shit is weak.
Kiersey Clemons stars in J.D. Dillard’s no-frills, all-thrills film as a woman who washes up on a desert island and encounters … something.
Joe Talbot’s striking, occasionally contradictory feature debut exhibits both lived-in authenticity and fairy-tale hermeticism.
Swiss Army Man co-director Daniel Scheinert returns to Sundance with a more modest effort that’s still plenty weird in its own right.
Moonlight’s Ashton Sanders is the graceful center of Rashid Johnson’s visually striking and stylized film of Richard Wright’s classic novel.
Director Dan Reed on why and how he explored Wade Robson and James Safechuck’s allegations that Jackson sexually abused them as children.
Joe Berlinger explains his two very different Ted Bundy movies: one is a Netflix doc, the other a Zac Efron movie.
I kept wishing James Marsh would just drop the not-particularly-interesting plot and let these god-level geezers go off on one another.
Including Mindy Kaling and Emma Thompson’s Late Night, Shia’s autobiographical Honey Boy, and Jake Gyllenhaal and Dan Gilroy’s Velvet Buzzsaw.
It’s an effective little thriller whose occasional flaws come mostly as a result of its considerable virtues, so you roll with it.