Stranger than Terry Gilliam’s 1990s hits and less aggressive than his later work, the glorious fantasy The Adventures of Baron Munchausen was the last film where his talents fully flowered.
Oliver Hermanus’ Living, a faithful remake of Akira Kurosawa’s Ikiru, stars Bill Nighy as a terminally ill repressed bureaucrat who realizes it’s time to rage against the dying of the light.
Margot Robbie and Brad Pitt’s characters burn the candle at both ends in Damien Chazelle’s rollicking and ridiculous epic cautionary tale, Babylon.
Noah Baumbach’s bright, funny, and nervy White Noise vividly translates Don DeLillo’s classic of mid-1980s American consumerist-medicated anxieties.
William MacAskill’s What We Owe the Future is an audacious plea to help our future humans with longtermism thinking, but it is blind to what we need now.
Matthew Heineman’s dizzying documentary, Retrograde, sees the fall of Afghanistan through the eyes of one beleaguered Afghan general.
The depth of anti-humanist sentiment related by Douglas Rushkoff in his latest book, Survival of the Richest, is harrowing and illuminating.
Danny Garcia’s chaotic, discursive documentary Nightclubbing, argues that Max’s Kansas City, not CBGB’s, was the true font of American punk rock.
What happens in the stories within The Forgiven is predictable and yet compelling, due largely to the stark dialogue and McDonagh’s anti-romantic viewpoint.
James Kirchick’s riveting history of gay life in Washington, D.C. is a Cold War epic of hypocrisy, surveillance, and survival.
The piercing documentary ‘Who Killed Vincent Chin?’, airing on PBS on 20 June, shows how economic anxiety and racial demagoguery make a toxic brew.
Cooper Raiff’s romantic comedy about a likeable slacker falling for an older woman, Cha Cha Real Smooth, has a bullying need to be liked.
