crime
Criterion’s new edition of Paper Moon is what so many have been long waiting for—a definitive release of this staple of 1970s American cinema.
The direction, the cinematography, the lighting, all of it mesh together to highlight the wild and always forward story that is Greedy People.
The Crow struggles to connect with audiences due to its lack of compelling character development and chemistry.
Both The Assessment and Emilia Pérez demonstrate the versatility of a festival like TIFF, which is always inclusive of all genres and subgenres of cinema.
Red Rooms is hypnotic, eerie, enticing, and undeniably repulsive, a procedural with the stifling rhythms of an addiction story or a dream.
Following the events of “The Batman,” Oswald “Oz” Cobblepot is a gangster aiming to rise to the top of the criminal underworld in “The Penguin.”
Trap is a movie seemingly gift-wrapped for greatness that eventually crumbles under its own logic.
The Instigators evokes the Boston movies of yore like a Dunkin’ drinkin’ Ghost of Christmas Past.
From this year’s New York Asian Film Festival we take a look at Pattaya Heat, Twilight of the Warriors: Walled In & Brush of the God!
Overall, Longlegs is well-directed, artistically apt, and really, really suspenseful.
The Bikeriders is a memorable addition to Jeff Nichols’ ouvre.
Limbo is a fish-out-of-water tale in a barren Outback town.
While occasionally veering into an overly complicated and opaque narrative structure, The G is a fun genre thriller with an incredible performance.
Horror films have trained us to expect the final girl, but Funny Games does not acknowledge this hope and desire for survival.
With this report of the Sundance Film Festival, I delve into a world of crime, of the dead returning to life, and a true coming-of-age story.