As long as you don’t think too long about some of the implications of what flashes past your eyeballs, this is a film to be dazzled by and lost in.
Jerzy Skolimowski chooses an unassuming, gentle, and watchful donkey to experience the multifaceted spectrum of life, adorning Eo with more personality than any Disney special.
It’s anyone’s guess as to why so many movies think “Chicago” in the same breath as “Santa,” but it’s a trend that shows no sign of slowing down, particularly as streamers, niche cable networks, and (shudder) Candace Cameron Bure have doubled down on making Christmas content.
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.