Steven Spielberg’s 33rd feature film is a marvel coming-of-age story and one of his most personal.
Lady Chatterley’s Lover may not have the power to shock that it once did, but in Clermont-Tonnerre’s hands it retains both romantic and social resonance.
One doesn’t have to be a restaurant industry insider to enjoy director Rebecca Halpern’s documentary Love, Charlie.
Sr. is capable of softening even the hardest of hearts.
Everyone is delightfully lost in a softly Lovecraftian Osmosis Jones labyrinth with climate change overtones and lovely faceless critters everywhere, trying to pantomime meaning to these stumbling humans.
Despite refusing to tip a few scales in the favor of those attempting to rob the rich to feed themselves, Violent Night still manages to conjure its own holiday miracle—the desire for a sequel in a market glutted with them.
About the decision to hire Amir George, Gordon Quinn explains, “We really wanted someone we felt was going to help transform us into what the next iteration of Kartemquin would be.”
It’s worth catching up with Giselle and crew one last time, even if the madness of the Big Apple is swapped for the bake sales of suburbia.
Del Toro saddles up with stop-motion animation legend Mark Gustafson to present some of the year’s most stunning visuals but also goes a step further by adding some weighty thoughts on war, death, and family to the beloved Carlo Collodi fairy tale.
Bad Animal feels like the natural progression for their fledgling production company [Emulsion Lab], marrying the indie music locus that inspired their start with the drive for creating projects that rival the scale of their DIY counterparts.
Despite its preponderance of blood and guts and sinew-slathering, bone-smacking gore, Bones and All isn’t exactly a movie about cannibalism.
It isn’t a conventional biography by any means.
Elegance Bratton’s autobiographical story The Inspection is one of learning to accept love on one’s own terms.
With The Last Manhunt, the epic story of Willie Boy the Desert Runner reclaims the narrative of a Native hero long portrayed by white men as a bloodthirsty child kidnapper.
The People We Hate at the Wedding, based on the book of the same name, tells the story of a blended family whose lack of communication leads to a whole big mess on the eldest daughter’s wedding day.