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.
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 Shape of Water is a plea to stop seeing the "other" in people, while masterfully remaining more charming than didactic.
A minor masterpiece, Certain Women is a profound meditation on the ways people temporarily buoy themselves from life's banalities, injustices, and disappointments.
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?
Based on Lily Koppel's 2013 book by the same name, The Astronaut Wives Club suffers from a bloated cast, allowing for only one or two compelling storylines.
Everything in film is a performance, including the camera itself. Lanthimos discusses his career from making commercials to his latest, The Killing of a Sacred Deer.
In Between emits an idealistic spirit to create unity, and Hamoud equally looks towards feminism as a unifying framework for the contemporary world.
Whereas Star Trek: Discovery continues to explore ideological complexities, so far The Orville seems little more than a celebration of Seth MacFarlane's love of the Star Trek property and his ability to indulge in expensive cosplay.
It can't be a coincidence this film takes place in Missouri, the birthplace of the #BlackLivesMatter movement.
Vachon delves into the inspiration behind Todd Haynes' latest and comments on the deaf community's reaction to the film.