Denis Villeneuve’s Dune is a self-fulfilling prophecy that undoes itself in the telling, an ouroboros regurgitating its own tail rather than eating it.
For the first time, Paul Thomas Anderson has produced a film distinguished not merely by his characteristic fascination with the world but by a deep love for it.
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.
Crafted as though from everyday observation and fantastic dream, About Endlessness marries the magical and mercurial, the simple and surreal.
It would be natural to assume it’s impossible to recreate Harold Pinter’s effects on-screen. What cinematic setting could ever replicate the feeling of an ordinary space that simultaneously exists in a howling metaphysical void?
Once Upon a Time...in Hollywood, a melancholy elegy with a fairy tale at its core, is a work of surprises, from an unconventional structure to stylistic flourishes to a cartoonishly outrageous denouement.
On the twisted war of influence in Yorgos Lanthimos' The Favourite.
Here is what happens when you let the darkness win.
It's hard to watch Annihilation in a Chicago winter and not feel it on a molecular level.
The Finnish auteur’s latest comedy charts the interwoven experiences of two men from drastically different backgrounds, each looking to improve their lots in life.
Good Time is an itch, a nagging. I want to let it go, but I, too, have been prone to spiral.
Not all movies are cinema; The Holiday is certainly not cinema—but it is upbeat and kind and romantic and Jude Law is just, like, extremely hot here.
