Edward Norton
In 1965, a young Bob Dylan shakes up his act on the folk music scene by going electric and siring rock as the voice of a generation.
It is a well-made, multilayered murder mystery, whose appeal lies not only in its subversive story, but in its prescient ability to predict the future.
Big stars giving wacky performances in a Mediterranean locale is essentially all one needs to know about Glass Onion.
Though not a fully-realized film, Motherless Brooklyn shows some promise, with an impressive neo-noir style and an admirable takeaway.
Amanda Mazillo reports from SCAD Savannah Film Festival with reviews of documentaries and narrative features, as well as a number of short films.
In his latest report from Film Fest 919, Josh Martin reviews Jojo Rabbit, Motherless Brooklyn and The Report.
In our latest report from the New York Film Festival, we cover Motherless Brooklyn, Wasp Network and American Trial: The Eric Garner Story.
In the age of toxic masculinity at its most unbearably malignant, Fight Club is still an effective parody of the spread of hate between generations.
For all the disease, danger and overt Trump-related reverberations, Wes Anderson’s ninth feature film and second stop-motion film, Isle of Dogs, is decidedly feel-good.
The recent film Split deals with dissociative identity disorder – today, we touch upon what it must be like to play that many roles in one.
Collateral Beauty is a messy film that is almost saved by its heartwarming theme and performance by Will Smith – though still not quite.
Michael Keaton is one of those “If only he was given a chance, he could have done great things” type of guys. Edward Norton is one of those “If he could just suck it up and take other people’s advice he could be one of the biggest stars in the world” type of guys. This is no secret to us and it is certainly no secret to Alejandro González Iñárritu, who takes full advantage of our outside knowledge to create the only slightly twisted reality of Birdman.