Midnight Kiss is a horror film for the age of Mayor Pete, imagining a self-cultivated gay emptiness at the turn of the decade.
Our intrepid TIFF correspondent wraps up his festival coverage with a look at new films from Guillermo del Toro, James Franco, Agnes Varda, Armando Iannucci, Martin McDonagh, and Louis C.K.
The relationship between Black American iconoclasm and French noir stylings highlights the contagious nature of social criticism itself, and the immensely broad potential for art and cinema to unite disparate but like-minded cultures.
I want to live in the artificial worlds Richard Curtis creates, with their aesthetic rules and regulations, if only to live in a world where problems are surmountable, and everyone is funny.
William Klein's little-seen, hard-to-find documentary, The Little Richard Story, is a film about how wooo’s can make the man.
Spring Breakers can still be enjoyed as a pure hallucinatory trip, devoid of any real-world relevance. But looks are deceiving, even limiting.
Come for the homoerotic subtext, stay for the shirtless saxophonist.
An end of year message to all those who've helped us keep going. (Plus, a playlist too!)
The Green Knight seeks not simply to retell or reimagine the poem’s story, but to interrogate or cross-examine the poem itself: to cast a shadow of postmodern skepticism over the original telling, and indeed all of Arthuriana.
On the blessing and curse of streaming family films over and over during a pandemic.
On this very special episode of the pod, Veronica sits down with beloved critic Fran Hoepfner to talk highlights of the 60th New York Film Festival, which they both attended last month, including Tar, Triangle of Sadness, Armageddon Time, All the Beauty and the Bloodshed, Decision to Leave, Stars at Noon, Showing Up, and more.
There are worse ways to ride out the pandemic than mainlining some three dozen or so movies in a week, finding delights where you least expect them.
