What is it about Penn Badgley's toxic and creepy Joe Goldberg in You that keeps viewers coming back?
Noah Baumbach's attention to the daily agonies of divorce in Marriage Story displays love's enduring power—or at least, its residue.
Fritz Lang's The Tiger of Eschnapur and The Indian Tomb are hothouse flowers of cinema with gyrating dancers, man-eating tigers, pagan magic, groaning lepers, and mythic moments. Has Lang ever come up with more desperate, mad, or heroic symbols of futile struggle?
Set in 18th century France, Céline Sciamma's Portrait of a Lady on Fire applies ravishing historical details to the timeless poetry of forbidden love.
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.
Director Trey Edward Shults and the cast of Waves break down the process of making their emotionally raw family drama.
Linda Fiorentino pulls out all the stops and delivers a tour-de-force performance in John Dahl's gripping neo-noir, The Last Seduction, a film full of blue moods, dark humour, and hairpin turns.
Gavin Hood's thriller about British whistleblower Katharine Gun's attempt to stop the Iraq War, Official Secrets, is nothing special artistically, but its intense relevance burns the screen.
Powell and Pressburger's Gone to Earth, and David O. Selznick's revision, The Wild Heart, take a philosophical inquiry into whether animals have souls and to what extent humans are animals.
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.
Looking upon Virginia Woolf with an immature and childish creative lust, writer/director Chanya Button and co-writer Eileen Atkins reduce her to a bland literary figure in Vita & Virginia, leaving us to remember the contrarian truth.
'Authenticity' is an ideological construct that should be questioned and critiqued, as Nahnatchka Khan has done so well in her film, Always Be My Maybe.
Don't mistake film for realism, it's all fantasy, says Director of Photograph, Ritesh Batra.
Director Joanna Hogg sheds nuanced light on a dysfunctional relationship similar to one of her own in The Souvenir.
In Olivier Assayas' speedy, slightly wan dispatch from salon society, Non-Fiction (Doubles vie), Parisians have badly concealed affairs and argue loudly but inconclusively about books and society.
By satirizing the French literary intelligentsia, Assayas' Non-Fiction (Doubles vie) chronicles the hypocrisies of the modern psyche without attaching itself to any particular worldview.
If you care about 3-D history, or about Lamas, or about how far the '50s could push erotic buttons (or un-buttons) within family entertainment, you'll have a good time with 'Sangaree' and 'Jivaro'.
For those curious about what awaits them on the other side of youth, writer-director Sebastián Lelio's indie drama Gloria Bell offers an unflinching glimpse at some unforgiving terrain.
Sebastián Lelio's fascination with womanhood and desire have culminated in Gloria Bell, with actor Julianne Moore tailor-made to its particular kind of searching melancholy.
In Jia Zhang-Ke's powerful love story, Ash Is Purest White, a woman and her gangster lover enact a dark dance of betrayal while modern China changes around them in explosively strange ways.
Starring Rebel Wilson, the half rom-com, half satire Isn't It Romantic has a hypocritical message, but its self-mocking charms work well.
Samuel Fuller's Forty Guns serves as a remarkable film that fuses the Western with film noir and provides ample space, at least during its first half, for Barbara Stanwyck to provide a commanding performance that hints at what a Western female heroine might look like.
Polish director Pawel Pawlikowski's Cold War, a sweeping romance, is equally indebted to grand spectacle and the practical compromises of wartime Europe.
Barry Jenkins' If Beale Street Could Talk is a near-perfect success both as a grand statement of solidarity and as a gorgeously wrought, long-overdue story of black life and black love.
Unlike justice, love has not abandoned the protagonists in Barry Jenkins' adaptation of James Baldwin's' If Beale Street Could Talk.
Sebastián Lelio reflects on his first English language feature, Disobedience, and how art, the individual, and society benefits from one's rebellion against one's own worldview.
Who knew that one of film's greatest arbiters of misery, Steve McQueen, also had a fun side with his latest film, Widows?
Steve McQueen's heist caper, Widows, is ultra-slick but gets sidetracked by its goofy plot twists. No matter; Viola Davis and Elizabeth Debicki's performances make for a satisfying experience.
Shannon Purser discusses her debut role in film, Sierra Burgess Is a Loser, catfishing, and the unrealistic expectations imposed on today's youth.
This dark romance set in WWII China proves cluttered, complicated, and at times confusing.
A Star Is Born traffics in the sort of superficial emotion that fades faster than the ringing in your ears after a concert.
Self-reliance, personal agency, boundaries, and respect -- Jenny Hans' YA novel, and in turn, Susan Johnson's film adaptation, show young viewers how healthy their relationships can be.