The political arena is an ugly, soul-sucking vortex before you add a sexting scandal. Weiner, the inflammatory expose from Josh Kriegman and Elyse Steinberg, documents how fiery liberal congressman Anthony Weiner’s NYC mayoral campaign went up in flames, engulfed by public outrage following ironically weiner-centric indiscretions. The pair offer up a poignant critique of media’s...
Sion Sono’s Tag is a maelstrom of WTF; an absolutely bonkers satire of feudal sexual tensions in his home nation of Japan, characterized by an absolutely unpredictable, heady plot wormhole that snakes from killer wind to murderous schoolteachers, wedding assassins to a simple foot marathon. Accomplished with keen wit, unnerving cinematic bravado and a healthy...
An imaginative and jet black adult dystopia, Yorgos Lanthimos’ 'The Lobster' balances nervous character study in with a screwy bizarro world. Proudly unusual, the mechanics of a world where being…
Whit Stillman’s ‘Love & Friendship’ is a savvy anecdote to the stuffy Victorian costume drama. Hysterical and unpretentious, Stillman’s adaptation of Jane Austen's work would make the author proud. Additionally,…
'The Nice Guys' is a nearly flawless seminar in action comedy as Shane Black schools the industry with righteous aplomb, paying lip service to its weathered idolatry with a sardonic…
Robert Eggers‘ first trip to Sundance was rewarded with a little thing called the Best Director award. Since then, he’s seen his New England-based independent horror film soar, earning a fervent critical backing and loads of support. But not everything has been roses. I chatted with the first-time director to discuss the years-long journey of...
Synopsis: “In 1630 New England, panic and despair envelops a farmer (Ralph Ineson), his wife (Kate Dickie) and four of their children when youngest son Samuel suddenly vanishes. The family blames Thomasin (Anya Taylor-Joy), the oldest daughter who was watching the boy at the time of his disappearance. With suspicion and paranoia mounting, twin siblings...
My favorite film out of SXSW 2016 was Fede Alvarez‘s unceasingly tense Don’t Breathe. I was so frequently startled, so genuinely unnerved that it physically hurt. And my god do I love that kind of pain. Call it what you will (masochism?) but horror films have the ability to engage sections of the brain that...
'Money Monster' won’t change the genre or leave a lasting impact but as far as semi-disposal adult entertainment goes, Jodie Foster’s fourth film serves as a strong reminder that thrillers…
García delivers some surprisingly compelling, though sleepy, material for a "Jesus in the Desert" art film but his post-screening testaments that this is a tale of unquestionable divinity (he contents…