Simon Brew's latest book, The Secret Life of Movies, gives film fans a compelling look into films from angles they might not have thought of -- yet.
From the makers of The Blob, Irvin S. Yeaworth, Jr .and Jack H. Harris, 4D Man and Dinosaurus! (restored by Kino Lorber) give film fans a can't-look-away sci-fi gaze into the victims of progress.
The title suggests that this would be a schlocky B movie with a '70s-style grindhouse aesthetic, but The Man Who Killed Hitler and Then The Bigfoot is, in fact, a finely crafted and emotionally charged drama about ageing, loneliness, and lost love.
In existential nightmare, High Life, Claire Denis explores the darkest intersection between outer space and the human psyche.
The budding auteur's follow up to Get Out, Us, is murkier than its predecessor but features a treasure trove of potent references to keep its ambitious premise afloat.
In Chinese Movie Magazines, Paul Fonoroff highlights the capacity for humans to embed their desires and history in the most innocuous-seeming of creative efforts.
James McAvoy's impressive acting and fleeting moments of powerful imagery dazzle in M. Night Shyamalan's Glass, but that can't make up for the film's shattered second half.
Polish director Pawel Pawlikowski's Cold War, a sweeping romance, is equally indebted to grand spectacle and the practical compromises of wartime Europe.
Netflix's interactive movie, Bandersnatch, doesn't really offer choices, but it does offer something else: a warning.
Despite a long history of live action films with wildly varying tones, Batman: Mask of the Phantasm is still the only theatrically released Bat-film to truly understand the character and how best to build a story around him.
In Wasteland: The Great War and the Origins of Modern Horror, historian W. Scott Poole exhumes our obsession with the living dead.
Japanese Studies scholar Susan Napier's Miyazakiworld reveals an animation auteur with an urgent message to convey about our future -- and ourselves.
The new documentary by Steven Loveridge, Matangi/Maya/M.I.A., is an imperfect homage to the talents of its star, albeit with brief moments of fascinating inquiry at its center.
Who knew that one of film's greatest arbiters of misery, Steve McQueen, also had a fun side with his latest film, Widows?
Robert Redford's swan song, The Old Man and the Gun, capitalizes on the charisma that has made him an enduring star for six decades.
In the prescient The American President, the president and his love interest push the liberal agenda while simultaneously living in the lap of luxury. Talk about having your cake and eating it, too.
Folk horror, hauntology, and archive footage combine to form an unsettling portrait of rural Britain.
The legendary horror studio's gender-bending take on Robert Louis Stevenson's classic story epitomized the changing roles of women at Hammer Films.
The Hate U Give director George Tillman Jr. and actors Amandla Stenberg and Russell Hornsby discuss the film's cultural impact with PopMatters.
Much like his former colleague Ken Russell, Derek Jarman knew which buttons to press when seeking to outrage the UK's moral majority.
The End of Endings: How 'Harry Potter and the Cursed Child' and Don DeLillo's 'Zero K' Explain the Current State of Storytelling
Somehow, without realizing it, for both DeLillo and Rowling, death, the end of the world, and endings themselves are best emblematized by a dysfunctional father/son relationship.
Jacques Audiard's revisionist Western shines thanks to moral quandaries and John C. Reilly's performance.
In Conrad's significant project of tracking the representations of women in sci-fi cinema, he's mindful of his subjectivity.
The legendary director behind Twin Peaks, Eraserhead, and Mulholland Drive joins co-author Kristine McKenna for a unique blend of autobiography and biography that does little to solve the mysteries of his life and work.