Flashbacks to Andor’s childhood seem unnecessarily added, as if someone thought an origin of an origin of an origin of Star Wars was a good idea.
Is it a good message to send young girls that they can be bad and do what they want for a little while but when the rubber hits the road they must toe the line?
The saying goes that all press is good press, but how true can that be if alleged drama surrounding a film overshadows the merits of the film itself?
Together, [Ti] West and [Mia] Goth created an inventive, unique slasher genre, and a movie worth rewatching several times.
Director Gina Prince-Bythewood films through the lens of Blackness, highlighting the beauty, strength, and fierceness of Black people, unlike most stories about the slave trade that wallow in Black trauma and are filmed as education for white audiences.
Writer/director Zach Cregger takes a simple premise and spins it into a series of unexpected permutations. Some tropes work better than others, but we’ll give him credit for inventiveness.
I have no idea how an A-list cast like this was hoodwinked into participating in this wink-wink nudge-nudge snooze fest.
Smoczyńska’s idiosyncratic vision distinguishes what otherwise might have been an overly literal telling of their story, and of their own stories.
The apparent dryness of Tsai’s films is but a facade, a layer under which a body of water—perhaps, like in one of his films, a river—is waiting to be found.
From horror movie fests and indie short films to the best in queer and international cinema, you’re guaranteed to find something new to watch this season.
If you’re looking to fall in love with film and its potential to inspire, look no further than Celluloid Now.
This week, the WorldScene Film Residency culminates in a film festival curated to illuminate the struggles of young men entangled in the justice system, giving the detainees a voice to share their experiences with their community.
This is the Chicago theatrical premiere of The Batwoman and the U.S. theatrical premiere of The Panther Women.
Ozon’s ode offers a diverting, fresh perspective on Fassbinder’s harrowing melodrama.
Kline’s trick to getting everything to coalesce is commitment—of himself, his passion, and his love—resulting in a distinctly dark comedy that is worth seeing.