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Metaphysical Horror Becomes All Too Real in the Audacious “Master”

Genre is mainly a tool of marketing, but there are exceptions. Mariama Diallo’s first feature, “Master,” which opens Friday in theatres and on...

At Sundance, There Are No Limits to the Art of the Documentary

This year’s edition of the Sundance Film Festival was, like last year’s, online. The complete program was available to me at home, and...

A Celebration of Miklós Jancsó’s Challenging Political Cinema

A new retrospective of six movies by the late Hungarian director Miklós Jancsó is a small step towards resetting the clock of movie...

“Parallel Mothers,” Reviewed: A Breathless Romance Sparked by a Fight for Historical Truth

The supremely democratic style of melodrama—the therapy of on a regular basis folks’s troubles with the grandeur of tragedy—can also be intrinsically political,...

Review: “Nightmare Alley” and the Pitfalls of the Period Remake

A remake is an invite to arrogance, and Guillermo del Toro, the director of the new “Nightmare Alley,” might by no means be...

“Red Rocket,” Reviewed: Simon Rex Can Act, but So Can Anyone

It’s been season for shock casting. In “Licorice Pizza,” the musician Alana Haim and the teen-ager Cooper Hoffman make their extraordinary and...

Review: Steven Spielberg’s “West Side Story” Remake Is Worse Than the Original

A wealthy and well-known artist spends 100 million {dollars} to revive a corpse with the blood of younger folks. The creature continues to...

“Drive My Car,” Reviewed: A Murakami Adaptation About Sex, Lies, and Art

When credit are positioned unconventionally in motion pictures, it’s normally a matter of flashy fashion, however in Ryusuke Hamaguchi’s new movie, “Drive My...

“Passing,” Reviewed: Rebecca Hall’s Anguished Vision of Black Identity

Rebecca Hall’s directorial début, “Passing,” primarily based on Nella Larsen’s 1929 novel of the identical identify, is one of the uncommon e book...

“Eternals,” Reviewed: Chloé Zhao’s Lifeless Marvel Movie

The phrase “auteur” is used to refer each to impartial filmmakers displaying their originality below situations of creative freedom and to filmmakers who...

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