Todd Haynes
In May December, there are more important things than the answers to Haynes’ litany of questions, which may frustrate some viewers.
The Velvet Underground wields the hands of time, recapturing and evolving into a time capsule of art within a new wave style of documentary.
Dark Waters is poignant, infuriating, and anxiety-inducing in the best possible way, and serves as a reminder of the importance of compassion and responsibility — now more than ever.
This week, we take a look at the recent Blu-Ray releases of Godard’s Le Petit Soldat (1963), Jarmusch’ The Limits of Control (2009) and Haynes’ Dark Waters (2019).
Amanda Jane Stern compiles a list of her top ten favorite LGBTQ+ films of the 2010s. Is your favorite on the list?
In Dark Waters, a corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution.
With musical biopics typically presented as Oscar bait or actors doing an impression for empty accolades, here are 10 music biopics that are actually great.
In this latest installment of Video Dispatches, Shawn reviews Rock Hunter, Tarnished Angels, Far From Heaven and Columbus.
With a weak and unfocused plot, Todd Haynes’s Wonderstruck feels like a love letter that isn’t quite sure who it’s addressing.
Stephanie Archer takes an in-depth look at Wonderstruck, the official centerpiece selection of the 2017 New York Film Festival.
Chloe, Alistair and Ryan report from BFI London Film Festival, reviewing films Wonderstruck, Pickups, Breathe and many more!
Alex Lines reports from the Melbourne International Film Festival and reviews Call Me By Your Name, Wonderstruck, Marlina The Murderer and more!
Todd Haynes’ experimental film Wonderstruck is set in both the 20s and 70s and offers up an interesting take on its source material.
Most directors have a recognisable style that characterises their movies, giving them a distinctive visual stamp that claims it as wholly theirs. Todd Haynes is an unusual director in that his style differs from movie to movie, fully committing to replicating different genres and bygone fashions to the extent that he has no distinctive visual style that claims any movie as distinctively his. With Carol, he has made a period drama not entirely dissimilar from his early film, 2002’s Far From Heaven.