Blade Runner, and the work of Philip K. Dick, continues to find its way into our cinemas and minds. How did the visions of a paranoid loner become the most relevant science fiction of our time?
After her prized 2017 film, Mala Junta (Bad Influence) displayed the oppression of the indigenous Mapuche people in Chile, filmmaker Claudia Huaiquimilla's work continues to dig into her country's deeply entrenched inequalities.
Spider-Man: Far From Home ties up the themes of deception and Trump-era media manipulation and it ensures that the next Spider-Man film will be completely different from anything that came before.
Buster Keaton was aware that the camera can be a catalyst of violence, especially stereotypical violence, for audience consumption -- and that it could also evoke the shared joy of cathartic laughter.
Sinuous camera moves and stylish direction, endings that surely wouldn't have flown after the Code crackdown: four pre-code talkies from Cecil B. DeMille, Phil Goldstone, Victor Halperin, and Stuart Walker.
David Mikics casts Kubrick as a kind of modernist tragedian in this biography, showing how meticulous planning often gives way to vanity, error, or random chaos.
Films by Sam Newfield and W. Merle Connell in Kino Lorber's Forbidden Fruit series show how exploitation films are blueprints for mainstream cinema.
So much of Abbas Kiarostami's Taste of Cherry feels relevant to the 2020 experience, in which small distances have never felt greater.
Preston Sturges' The Lady Eve demonstrates that somewhere within the convolution of deception (self-deception included) lies a truth that persists all the same.
That today's viewers can't easily fall into the fantasy of Rock Hudson as an "Indian" in Taza Son of Cochise -- one of three films discussed here -- provides its own distancing and underlining of the themes that make it Sirkian, the rampant phoniness used as a vehicle for something true.
Armando Iannucci veers sharply from pitch-black satire to a more upbeat comedy with The Personal History of David Copperfield, starring Dev Patel as a hero who would have been eaten alive in Veep.
The fight to legalize gay marriage is a story the Left must cherish, a tale of systemic justice in an era of burgeoning oppression, a refreshed vision for a time that needs a refreshed "public dream" for change.
Zack Snyder's Batman V Superman: Dawn of Justice interrogates two primal drives in American culture through the top characters of the DC pantheon: fear and its trauma (Batman) and naked power and its ambiguities (Superman).
X-Men: Dark Phoenix, a weak, disappointing film, ends two decades of the groundbreaking X-Men series with a barely audible whimper.
Critic Roger Ebert was frustrated with Abbas Kiarostami's Taste of Cherry because the film subverts our desire to understand another -- the very core of cinema's intent.
The pugnacious characters in Cassavetes' Husbands couch their inauthenticity in bullying. For them, anger is more authentic than placidity, rage more authentic than sadness, cruelty more authentic than kindness.
Preston Sturges' The Lady Eve is layered with texture and substance draped in the gleeful prurience of a master of slapstick and romance who could write foolish millionaires with the same deft ear as cultured hooligans.
Erik Nelson's gorgeously restored Pacific War color footage in Apocalypse '45 makes a dramatic backdrop for his revealing interviews with veterans who survived the brutality of "a war without mercy".
Greta Gerwig's film adaptation of Louisa May Alcott's classic novel Little Women strays from the dominating theme of existential loneliness.