If the plot of Mudbound is familiar, its very repetition is devastating, especially in this moment in US history, when Trump and white supremacists dig up the past -- legacies of racism, abuse, and fear -- and make them horrifyingly incessant, inescapable.
Richard Matheson's work has so permeated modern pop culture that it can be hard to find works not at least partially indebted to an idea of his or, as is more often the case, someone influenced by him.
The delightfully cheesy and entertaining conclusion to Zack Snyder's superhero opus makes the rest of this listless, disjointed film all the more infuriating.
"[While] the rest of us were toying with chemistry sets [Tommy Wiseau] was lighting the lab on fire," says Greg Sestero in his film memoir about The Room.
If Martin McDonagh's dark comedy-drama doesn't quite out-Fargo Fargo, it brilliantly illustrates the chaos a few choice words can cause in the hands of a talented filmmaker.
In Jean Renoir's Le Crime de Monsieur Lange the beguiling depravity of the capitalist not only wreaks injustice upon us, it seduces us into complicity in that injustice.
The nostalgic beauty of Planes, Trains and Automobiles — aside from a delicious '80s synth score — is its fleshy, alive representation of different economic classes having to deal with one another absent easy technological escapes.
X2: X-Men United has a much stronger plot than X-Men, a surprising amount of social consciousness, better action and visual effects, and it caps things off with a killer cliffhanger ending.
The Shape of Water is a plea to stop seeing the "other" in people, while masterfully remaining more charming than didactic.
Neurotic New Yorkers, Queer Mavericks, Swedish close-ups and the art of putting a microphone on every person on set are but a few of the themes explored in PopMatters' first group of ten essential directors, Chantal Akerman through Bernardo Bertolucci. Please note that any perceived omissions were likely on purpose...
Don't we owe the people whose craft we criticize the courtesy of at least trying it out? How hard could making a movie really be?
"I had the opportunity to be on the sets of a lot of the greats in terms of directors," says Gerwig, "So I was able to steal from the best."
While Varda has said that her latest documentary Faces Places will be her last theatrical feature, it's hard to imagine that adventurous magpie spirit abating anytime soon.