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.
Josh Cooley's addition to the Toy Story universe is injected with something altogether more cosmic in scope than the previous films -- a comedic reverie of all things disintegratory.
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?
Lynn Shelton's lo-fi Southern satire Sword of Trust yokes historical artifacts, the quest for meaning, Civil War Truthers, and the devastation of addiction to a pleasingly ramshackle comic quest.
Tuca & Bertie is decidedly female-centric and bold, featuring -- among other things -- a plethora of boobs: boobs on pastries, on plants, and boobs shaking on buildings.
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