Yasujiro Ozu's films can often be described as movies in which nothing happens -- nothing except the revelation of a world, its inhabitants, and a deep understanding of their contradictions.
The bamboozle is on in silent films One a Minute and Bell Boy 13, starring comic actor Douglas MacLean.
Nat Faxon and Jim Rash's comedy, Downhill, paints in broad strokes and peaks early, never matching the clever satire of its source material, Force Majeure.
What happens when you put an Arizona dirtbag, a human turtleneck, a narcissistic monster, and the dumbest person you've ever met in the same room? They become good people, sure, but more importantly, they become a group.
Preston Sturges' classic Hollywood comedy The Great McGinty is an incisive and bold political satire that explores the ridiculous depths of American corruption—80 years before the Trump era.
Animals is both a personal and creative coming of age story, and a satisfying yet frustrating tale about avoiding the tragedy of getting left behind.
Noah Baumbach's attention to the daily agonies of divorce in Marriage Story displays love's enduring power—or at least, its residue.
For a show that so cynically pokes holes in the inanities of our plastic, apathetic world, The Simpsons' rough-edged bedrock of brilliantly conceived sentiment can cup a heart without compromising comedic integrity.
Fellini is the master of blurring the lines between the real and the surreal, demonstrating the overriding imbrication of the familiar and the fantastic. In The White Sheik, currently playing at NYC's Film Forum, he inspires wonder and bemusement.
The Safdie Brothers' nervy ball of tension, #PMPick Uncut Gems, sends a hustler blasting recklessly through a city where everybody is on the make.
Sidney Olcott's silent film Little Old New York falls into a tradition of men who find themselves strangely attracted to boys that turn out to be girls in disguise.
In a society of things, social responsibility requires a recognition of the influence of commodities upon our most foundational spiritual experiences. Nickelodeon's animated series, Rocko's Modern Life, puts it simply.
Director Craig Brewer helms his breezy tribute to Rudy Ray Moore, the '70s Blaxploitation icon who influenced an entire generation of young Black performers, with Dolemite Is My Name.
South Korean director Bong Joon-ho’s latest film, Parasite, combines the epic class warfare of Snowpiercer with the zany activism of Okja, resulting in a brilliant, many-layered exploration of social stratification and capitalism.
The Criterion Collection's essential 30th anniversary Blu-ray package of Spike Lee's Do the Right Thing honors the film's heart, aesthetic brilliance, and pointed message on American racism, diversity, and community.
There are strong emotional stakes and likeable characters in Peyton Reed's Ant-Man, but they are all rooted in a, well, less than epic scale. This makes Ant-Man refreshing, an MCU palate cleanser.
Jean-Luc Godard's cinematic oddities First Name: Carmen, Détective, and Hélas pour moi, newly released on Blu-ray from Kino Lorber, embody the vast landscape of possibilities open to the director during the '80s and '90s.
Director Gurinder Chadha and author/journalist Sarfraz Manzoor discuss the culture clash that inspired their film, Blinded by the Light, based on Manzoor's cross-cultural memoir, Greetings from Bury Park.
Once Upon a Time...In Hollywood is the clearest signal yet of Quentin Tarantino's transition from creative referentialist to repeat offender, standing somewhere between revisionism and recidivism.
Heaven Can Wait is Lubitsch's most successful film due to his ability to turn a period-piece into an enchanting story about the human condition.
Tarantino's surprisingly warm fantasy mash-up of California dreamin' and arthouse B-movie revenge fantasy, Once Upon a Time...in Hollywood, is dreamy but sacrifices coherence for the indulgence of changing history.
The legendary director's hotly anticipated ninth film, Once Upon a time... in Hollywood, applies his trademark wit to '60s Hollywood, but ultimately it's an oddly conservative machismo, not inventive filmmaking, that shines through.
Phoebe Waller-Bridge's Fleabag forces viewers to sit down at the dinner table with "the family", which is a game of conversational hot potato -- and nobody wants the f*cking potato.
Tarantino's latest, Once Upon a Time.. in Hollywood, is a breezy, top-down-on-the-convertible kind of film that wows you with its surprising sweetness before punching you with a bloody fist.
Made for TV programs of the '70s really knew how to dish it out. Michael Crichton's Pursuit is all about men conquering each other; whereas Lee Philips' The Girl Most Likely To is a poisoned bon-bon about making pain palatable.
Why don't we have more immigrant stories in film? Lulu Wang talks with PopMatters about fighting to tell her story, her way, and how that came to fruition in her latest film, The Farewell.
If director Riley Stearns sometimes loses his thematic bearings, he never forgets to deliver large, violent doses of comedy in the instant cult classic, The Art of Self-Defense.
At its best, animation comedy show King of the Hill asks, Why are"race" issues in America always about white people?