Two weeks after its premiere at Sundance, the Roger Ebert documentary “Life Itself” has been acquired for U.S. distribution by Magnolia Pictures. The deal covers theatrical, VOD and home…
Sundance Film Festival
"The return of phantoms, of impossible beings," is how actress Eva Mendes describes Leos Carax's work during her appearance in "Mr. X," a reverent tribute to the French auteur that makes him out to…
If a dominatrix is one who takes total control of her passive partner, then "R100" is the cinematic equivalent of a kinky femme fatale in black leather and stiletto heels, cracking a whip and a smile.
This second film from Brooklyn-based writer-director Tim Sutton ("Pavillion") is a digressive, daringly experimental study of a flailing musician, magnetically played by accomplished bluesman and…
At two-and-a-quarter hours, "Killers" has plenty to offer genre fans — provided they don't bolt during its opening scene of a tied-up woman being beaten to death with a mallet.
Two wrongs don't make a right — nor any clear dramatic resolution — in "To Kill a Man," a grim, fat-free revenge thriller that extracts an impressive degree of moral equivocation from its exceedingly…
"Freedom Summer" expertly combines archival footage and photos with contemporary interviews to recall the pivotal 10-week period in 1964 when hundreds of activists, black and white, worked together…
In the wake of the Sundance Film Festival, Sony Pictures Classics announced it has acquired North American and select international rights to Maya Forbes’ directorial debut “Infinitely Polar Bear.”…
Veering wildly between earthy verite and near-ecstatic surrealism, this Tanzanian-set tale of a resourceful albino adolescent learning to survive in a community brutally geared against his kind is…
A masterfully composed and suitably outraged look at the neocolonialist exploitation of South Sudan, "We Come as Friends" is the second part of Austrian documentarian Hubert Sauper's proposed trilogy…
A stirring, little-remembered episode of baseball history has been lovingly brought to the screen by co-directors Chapman and Maclain Way in "The Battered Bastards of Baseball."
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