The latest unidentified factual object from Harvard's convention-busting Sensory Ethnography Laboratory project makes a proud point of its unpleasantness.
It has the escalating, claustrophobic structure of the darkest farce, but humor doesn't pile up in "Under the Tree" so much as it bleeds out.
Practically a household name if not a household face, Andy Serkis may have done more than anyone in contemporary film to revise and expand perceptions of what constitutes screen acting.
"You can't go home again," that age-old chorus of mature disillusionment, at first appears to be the driving current of "Dark River," a severe, stoic but internally screaming third feature from…
Michael Pearce's prickly, twistily effective first feature "Beast" is kept on a ridge of queasy tension throughout.
Guillermo del Toro's lavish romantic fantasy "The Shape of Water" won the Golden Lion for best film in Competition at this year's Venice Film Festival.
Savage's film thoughtfully and credibly outlines the conflict between a superficially abundant lifestyle and overwhelming internal lack.
Pity the luckless fellow students in the amateur dramatics classes attended by the title character in “Hannah”: They might try their best, but week after week, they have to go up against Charlotte…
"Mektoub" is a frequently seductive sensory epic of equivalent ambition, yet despite its woozily pleasurable set pieces, the fraught emotions binding them are less urgent, and the perspective of its…
“We’re all equal in the eyes of the Lord,” says a benevolent rural preacher in the opening scenes of “Sweet Country” — but the Lord’s eyes are evidently cast far from Alice Springs, the ravishing but…
Every good film festival needs a firestarter: a big, bold auteur film intended to split and disquiet audiences, whereupon the critical reaction winds up consuming as many analytical column inches as…
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