The film’s big set pieces are as chilling in their effect as they are confident in their execution.
May the future of the TCM Classic Film Festival continue to be resonant.
This sequel to the maligned 2021 reboot is ravenous to get down to bloody business.
All of the film’s discursive branches stem from the same root.
Tuttle discusses directing Kieron Moore and Reed Birney, the film’s rich subtext, and more.
Blue Film is a scrappy and profoundly unsettling chamber drama.
The film makes it abundantly clear from the get-go that the people are the problem.
Martel discusses her first nonfiction work, the controversy around its subtitling, and more.
The film has the aspartame fake-sweetness and zero-calorie comfort of its predecessor.
McCarthy discusses working with a bigger budget, crafting scares, and more.
The slower it moves, the more obvious the film’s deficiencies become.
The film functions as a meditation on McCarthy’s own perspective as a storyteller.
Two Pianos only flirts with questions about the sacrifices made for art.
Miyake captures his characters in the realm of the ineffable, making the mundane sublime.
Power Ballad merely hums when it should soar.
Once it turns into a home-invasion thriller, the film becomes more sadistic than hilarious.
The Swiss festival remains a haven for docuphiles.