As the shortest, sharpest and most stormily violent of William Shakespeare's tragedies, "Macbeth" may be the most readily cinematic.
If there's a certain momentousness to the onscreen reunion of Isabelle Huppert and Gerard Depardieu — 35 years after Maurice Pialat's "Loulou" — everything else in Guillaume Nicloux's cryptic curio…
Combining immaculate formal composure with intrepid thematic sangfroid in a comparable manner to fellow new-school Mexican filmmakers Amat Escalante and Michel Franco, David Pablos makes a…
If "The Restless One" seemed the perfect title for the first part of Miguel Gomes's opulently undisciplined opus "Arabian Nights," "desolate" is hardly the adjective for its fertile, often uproarious…
Two years after making a crimson splash in Cannes with his catgut-taut suspenser "Blue Ruin," U.S. writer-director Jeremy Saulnier continues his grisly journey across the rainbow with the…
For a still-young subgenre, it can feel as if the narrative possibilities of the War in Afghanistan soldier study are approaching exhaustion — until a film like Clement Cogitore's clever…
"Maryland" is the original title of "Disorder," the second feature by Parisian writer-director Alice Winocour, and while not one minute of it takes place in the American state of the same name, it's…
"Self-destructive" is the label commonly attached by armchair pop psychologists to tragic figures like Amy Winehouse, the nervy, unruly and viciously talented British jazz-soul singer.
A near-tangible slick of midsummer sweat sits heavily atop each scene in Andrew Cividino's diverting debut feature "Sleeping Giant."
Longevity and lifelong fertility are among the reasons why a human may wish to become the eponymous creature, explains Colin Farrell's protagonist at the outset of "The Lobster."
Naomi Kawase's filmmaking has thus far existed in a kind of prestigious limbo: Though beloved of festival selectors, particularly those at Cannes, even her most glitteringly rewarded works have…