It's hard to watch Annihilation in a Chicago winter and not feel it on a molecular level.
Here is what happens when you let the darkness win.
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.
On watching Richard Linklater's Everybody Wants Some!!
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.
Ethan Hunt has been engineered as Cruise’s go-to export, the slippage between character and actor deliberate; Hunt is the closest an audience gets to seeing Cruise act like a normal person.
Good Time is an itch, a nagging. I want to let it go, but I, too, have been prone to spiral.
Crafted as though from everyday observation and fantastic dream, About Endlessness marries the magical and mercurial, the simple and surreal.
You get what you bring into Past Lives, a lush and dreamy new film and the directorial debut of playwright Celine Song—a story of love and loss and reconnection between childhood sweethearts across a quarter-century and two continents.
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 Finnish auteur’s latest comedy charts the interwoven experiences of two men from drastically different backgrounds, each looking to improve their lots in life.
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?
