A perky generation-gap fable that sneaks some surprisingly conservative gender politics into its stainless new world of online startups.
Not long ago, it was far easier to predict which foreign-language films wouldn't feature in the Oscar race than it is today.
"Regression" is a risky choice of title from a director whose most recent work has fallen short of past glories, setting up all-too-obvious critical punchlines in the event of further decline.
With touchscreen coffee tables still an unimaginable luxury in most households, "Human" may have arrived a few years too early for its optimum avenue of exhibition.
"Everybody knows the fight was fixed," husks Leonard Cohen over the closing credits of Stephen Frears' "The Program," a straight-spinning dramatization of cycling champ Lance Armstrong's…
With faith-based filmmaking confidently on the rise in the U.S., a counter-movement of similarly independent agnostic cinema seems a debate-stoking inevitability.
Terence Davies is the first to admit that he is, to put it bluntly, out of touch. "I don’t understand the modern world," he says cheerfully, his mellifluous vowels crackling down the phone from…
If crotchety upper-class vagrant Mary Shepherd hadn't turned up on the North London doorstep of celebrated playwright Alan Bennett, he might have had to make her up.
A Tsai is just a sigh in "Afternoon," a dallying, mildly disarming filmed tete-a-tete between Tsai Ming-liang and his beloved leading man Lee Kang-sheng.
You can, to adjust a phrase, see the forest for the trees in "Go With Me" — if only because mist-shrouded woodland scenery is about the only distinguished feature of Daniel Alfredson's turgid…
Looking, not touching, is the act of choice for a sexually wary gay man in "From Afar," and his hands-off approach is shared by the expert storytelling in Venezuelan helmer Lorenzo Vigas' pristinely…