Tár is mesmerizing. Cate Blanchett’s masterful performance captivates the screen for nearly three hours as the principal character precipitously heads toward her downfall or strings together her magnum opus.
Director, editor, and producer Maria Breaux taps into the bratty ferocity and cries for revolution of the 1990s riot grrrl movement with her crowdfunded feature film Vulveeta, premiering as part of the 40th iteration of Reeling: The Chicago LGBTQ+ International Film Festival.
Sierra Pettengill’s disquieting documentary uses only archival footage shot by the military and clips from period news coverage to explore this uncanny episode in the country’s history.
Bros is a genuinely funny movie with nuanced emotional heft.
Syms’s work—which ranges from performance art to gallery installations to this more straightforward narrative endeavor—is compelled by a preternaturally propulsive energy that sustains its momentum even as she explores various forms of expression.
I sat down with [Billy] Eichner and costar Luke Macfarlane to discuss the joy of the theatrical experience, bringing the film from idea to reality, and the exuberant messiness of loving both complicated people and communities.
Marilyn Monroe is the American public’s white whale, that which we seek to dominate and claim as our own.
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.