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(06/29/23 9:00pm)
“Master Gardener,” the latest study of tortured masculinity from writer-director Paul Schrader, opens on a shot of Narvel Roth, the film’s protagonist, nocturnally scribbling his thoughts inside of a diary. For those well-versed in the legendary filmmaker’s body of work, this is a strikingly familiar image.
(04/26/23 12:26am)
Early on in “Enys Men,” an experimental folk horror film from director and writer Mark Jenkin, astute viewers will quickly surmise that the vibes on the central island are more than a little askew. Before anything overtly menacing has even taken place, ominous overhead shots of the terrain and a droning score clue the audience into a deep sense of foreboding menace.
(04/24/23 2:35am)
Ben Affleck, the famous actor and director behind the acclaimed “Gone Baby Gone” and “The Town,” has experienced about as many career pivots as is possible in modern Hollywood. Hailed at the beginning of his career for his role in co-writing the instantly iconic “Good Will Hunting,” his later roles in several notorious critical flops led audiences to quickly sour on his screen presence.
(03/23/23 2:17am)
In the modern film industry, survival stories have become a dime a dozen. In the last decade alone, audiences have seen films such as “All Is Lost,” “Gravity” and “The Martian” pit high-profile thespians against the ravages of nature. Now, “Inside” joins the pack.
(03/16/23 10:15pm)
The 95th annual Oscars — which aired this past Sunday — highlighted an array of great films, each of which varied immensely in tone and genre. While the lineup for the revered “Best Picture” category featured many honorable nominations like “Tár” and “The Fabelmans” — two of the absolute best films of last year — several films failed to be recognized by the Academy as being among the cream of 2022’s crop. This list features seven forgotten films that deserve a nod.
(02/22/23 4:32pm)
Towards the beginning of “Magic Mike’s Last Dance,” the final installment in this spectacularly stripping series, Mike Lan (Channing Tatum) is adrift. Having recently lost his furniture business to the economic ravages of COVID-19, Lane fills his days bartending swanky soirees and fundraisers, clearly bored and dissatisfied with the wheel-spinning routine of his daily life.
(02/10/23 4:54am)
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(09/16/22 2:07am)
For Class of 2002 alumnus Siddharth Dalal, writing novels may not seem like the most obvious career fit. Dalal works in the fields of software development and engineering — seemingly possessing the disposition of an analyst more than an artist.
(05/12/22 3:51pm)
Roughly ten minutes into “The Northman,” the newest film from acclaimed horror director Robert Eggers, King Aurvandil War-Raven, portrayed by Ethan Hawke, brings his young son, Amleth — portrayed by Oscar Novak as a child and Alexander Skarsgård as an adult — arrive at a cabin in the middle of the forest, ready to act out a royal ritual which has preceded them for generations. Once they enter the ramshackle building, the boys are greeted by Heimir the Fool, played by Willem Dafoe, and invited to drink a psychedelic liquid concoction with the jester, a tradition that has preceded Amleth for generations.
(05/12/22 3:48pm)
Over the course of his several decades in big budget filmmaking, director Michael Bay earned a reputation for himself as a creator of crass corporate products. It would certainly be hard to claim the man behind “Armageddon,” “Bad Boys” and the “Transformers” franchise as a maverick of independent cinema. Still, there has long been a distinct lunacy and expressive visual style to Bay’s films which mark them as the work of a true auteur, whether one adores or detests his wild visions.
(04/27/22 1:37am)
This article contains minor spoilers for the first episode of “Tokyo Vice.”
(03/31/22 2:04am)
In the first few minutes of “X,” the newest horror film from director Ti West, two small-town police officers stumble across a gruesome crime scene on a remote farm, hints of the previous night’s carnage strewn about the vast estate. This terse and tense prologue sets the stage for what is to come — regardless of the specifics, one can be sure plenty of explicit violence is in store.
(02/16/22 4:49am)
The Academy of Motion Picture Arts and Sciences fulfilled its annual duty and announced this year’s slate of Oscar nominees earlier this month. The nominees are a diverse crop, with the Best Picture lineup finding room for films as seemingly different as “Drive My Car,” an critically-acclaimed and lengthy Japanese drama about grief, and “Don’t Look Up,” a star-studded comedy about environmental destruction that was greeted with decidedly mixed reviews.
(02/10/22 8:50pm)
Nobody shoots a close-up like director Barry Jenkins. The acclaimed Black auteur, who has only made three feature films to date, has already established himself as one of contemporary cinema’s most notable talents. A large part of this attention comes down to the way Jenkins and his regular cinematographer James Laxton film the human face.
(01/26/22 5:40pm)
At the beginning of “Licorice Pizza,” Alana Kane and Gary Valentine — portrayed by Alana Haim and Cooper Hoffman, respectively — sit down for dinner at Tail o’ the Cock, a restaurant that Valentine frequents. The two seem to immediately hit it off. Valentine, clearly infatuated with his companion, goes on an earnest charm offensive. Kane seems to be won over. You can see it in her eyes when Valentine, having only met her earlier that day, promises that he’s “not gonna forget [her].”
(12/31/21 5:21am)
The first word that comes to mind when describing “West Side Story,” the second cinematic adaptation of the influential stage musical, is virtuosic. Steven Spielberg, the Hollywood heavyweight who directed this film, brings an elegance and formidable sense of cinematic craft to just about every moment in the movie.
(10/28/21 1:11pm)
Across numerous streaming services, it is easier than ever to access horror films. As soon as someone opens Netflix, they’re greeted with an endless array of movie posters, most of them advertising seemingly generic movies that have sometimes skipped theaters altogether. These films can be fun when watched with a raucous crowd, and there are certainly some diamonds in the rough. Still, few of them likely evoke the kind of autumnal, chilling and strangely comforting atmosphere that can be associated with the best horror films — and by extension, Halloween itself.
(10/12/21 2:29am)
“Venom: Let There Be Carnage” is as ridiculous and heightened as its goofily excessive title. An ungainly, delirious comic book film with nary a single hint of restraint or good taste, but the film’s nonsensical energy is both its greatest strength and, by the end of it, what makes it somewhat of an exhausting experience. It’s hard not to feel a little worn out by the climax, a noisy and frequently incoherent action sequence, but there are plentiful laughs and moments of fun to be had along the way. The movie’s goofball energy is mostly infectious.
(09/30/21 4:03am)
“The Starling” is an unwieldy film. Alternating between unconvincing scenes of whimsical physical comedy and a grim depiction of grief in the wake of unimaginable loss, it seems constantly unsure of its own tonal ambitions.