If Taylor Swift: The Eras Tour is about anything other than its star, it's about the sheer labor involved in putting on such a production.
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.
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.
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.
After a long and stressful weekend, I went to go see Hell Or High Water by myself, and it absolutely gutted me.
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.
It's hard to watch Annihilation in a Chicago winter and not feel it on a molecular level.
Crafted as though from everyday observation and fantastic dream, About Endlessness marries the magical and mercurial, the simple and surreal.
On the twisted war of influence in Yorgos Lanthimos' The Favourite.
Claire Simon's Our Body is not only a fascinating look into the modern healthcare system, but is also, as with any documentary worth its weight, a peek into the ordinariness of extraordinary things.
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?
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