Film
“Poor Things” is a film in which the set designers are as much the auteurs as the director, to the detriment of the pathos that is at the heart of Alasdair Gray’s novel.
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In a world that at times seems to have turned sour and colorless, “Wonka” brings much needed sweetness and beauty, making it a perfect diversion for the holiday season.
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“Concrete Utopia” echoes “Parasite”’s sharp critique of class exploitation, but it applies a faster pace and more restless energy to its vision of economic meltdown.
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Like the novel it is based on, “Eileen” eventually becomes a morally ambiguous, and twisted, noirish mystery.
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In this promising filmmaking debut of Cord Jefferson, we’re given a too-rare peek in cinema into upper middle-class African-American life.
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Frederick Wiseman’s latest documentary — an immersive visit behind the scenes of a three-star Michelin restaurant — is a savory, irresistible treat.
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“The Boy and the Heron” is a work of true beauty that fits squarely within veteran director Hayao Miyazaki’s gorgeous and emotionally resonant oeuvre
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The heart, intelligence, and the artistry of “Godzilla Minus One” makes it one of the best kaiju films ever made.
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This volume is a study of what can happen when two art forms engage in a mutually beneficial conversation.
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Film Anniversary: From Punchline to Plausibility — The 50-Year Transformation of “Soylent Green”
“Soylent Green” should be seen as a work of future history, a docudrama of things that, in 1973, had yet to happen but are happening now, 50 years later.
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