Haile Gerima's Bush Mama remains a critically transformative film, particularly in its most subliminal, yet important, proclamation: the days of separating "art" and "artist" are over. For in Black cinema, those days never existed to begin with.
With its big performances and stellar script, The Irishman is the glorious culmination of Scorsese's lifelong fascination with mobsters and their built-in self-destruction.
Allison Anders' Gas Food Lodging gives us such compelling characters that we cannot help but sit and observe them.
The Film Forum in New York City is showing Yasujirô Ozu's Tokyo Twilight for a limited time from Friday, 8 November to Thursday, 14 November. This is a film that one needs to savor and contemplate, a film that captures the tribulations of this world and the evanescent truth that lies beneath them.
Ghostly International took over three of Chicago's best artistic spaces, the Metro, Smart Bar, and Notre Shop, to celebrate the culture and communities that supported their legendary 20-year creative mission.
Damon Lindelof's over-plotted, over-anxious, daring, genre-hopping offshoot of Alan Moore's alternate-history graphic novel, Watchmen, is less a show about hunting down the bad guys than it is about the twisted turns and stubborn legacies of racist trauma in America -- and the resistance to atoning for it.
With his prescient film, Children of Men, director Alfonso Cuarón hasn't flipped Hegel onto his head, as Marx and Engels were accused of doing -- he's knocked him off his feet.
Alphaville's pulpy sci-fi plot acts as a warm coat of familiarity as Godard slyly subverts one genre trope after another.
Cynthia Erivo's transcendent turn as Union spy, escaped slave, and Underground Railroad conductor Harriet Tubman shines through Kasi Lemmons' heroic but oversimplified biopic, Harriet.
Bellocchio's best work, Fists in the Pocket (I pugni in tasca) is key to understanding the stark shift Italian cinema experienced in moving from the post-realism phase of the 1950s into the experimentalism, social commentary, and surrealism of the 1960s.
Recent queer icon films Judy, Bohemian Rhapsody and Rocketman tease their key audience while keeping one foot solidly in straight land. Is this progress?
Todd Phillips' divisive Joker stirs the conscience -- and the stomach.
In Robert Eggers' brutal but lyrical 19th century horror show, The Lighthouse, there is a lot of David Lynch in the looming soundtrack and the steam-powered, proto-industrial feel in the scenes of tending the lighthouse machinery.
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.
Director Robert Eggers' emotional powerhouse, The Lighthouse, is a profound allegorical reminder that no man is an island.
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.
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