"To see a character like Lydia Tár onscreen feels both cathartic and thorny."
James Gray's Armageddon Time traces a line from 1980 to now and asks, with no shortage of despair: What exactly has changed?
Mad God is a stop-motion nightmare, a film that reads like a Boschian painting, a voyeur’s dream, and a dire warning all at once.
Luca Guadagnino's Bones and All is a film that is full of flesh, but also anti-flesh: ethereality and ephemerality.
The Fabelmans is not a coming-of-age story. There is no answer. It isn’t a parable or lesson or meditation. Instead it reflects, renders in real time, its creator’s relationship to his memories.
We know the songs and the big story beats, but Baz Luhrmann shows us that with Elvis, there's still more to discover; not facts, really, but feelings.
Terence Davies' Benediction is not a puzzle, nor does it court confusion. Instead, it explains how Siegfried Sassoon’s life, whether he wants it or not, is a blessing.
Writing about Memoria ignites the very challenge Jessica faces: how do I translate my thoughts to another person who cannot hold them, and why am I so determined to do so?
Glass Onion: A Knives Out Mystery, takes the classic structures of a Christie caper and levels them up, building an impossibly polyhedral monument to all that a mystery can be.
For our annual fashionably late “Best Of” issue, we’re looking at a 2022 highlight: Charlotte Wells’s staggering debut feature Aftersun, with film critic, author, and educator Adam Nayman.
While Stranger Things has always depicted the frustration of dealing with the baggage left behind by a previous generation, the fourth season is particularly exceptional in how it explores collective trauma.
Top Gun: Maverick is not, at its heart, a story about what one man can achieve. Instead, it's an exploration of whether Man even matters.
