Steve Erickson
It’s a bad sign that such an entertaining and visually stunning film, shot in CinemaScope, couldn’t play in theaters in this country.
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Like other Eastern European artists, Radu Jude is at his best channeling his anger through dark comedy.
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“The Mastermind” points to the impossibility of trying to live as though the outside world and its politics don’t exist.
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Because NYFF’s “Revivals” supplement showcases new restorations, the expectation is that these movies, including art films from around the world, should become more widely available down the road.
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Despite its abrasive style, “Plainclothes” leaves no doubt about what is going to happen or what is meant to be its takeaway message.
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Grief and generational trauma have become the horror movie villains of our time, taking the spot once occupied by masked killers.
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Kiyoshi Kurosawa’s return to form might be explained by his looking backward: the director has chosen to grapple with the fact that many of the pessimistic prophecies of his earlier films have come true.
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No one argues about Israel or Hamas, or even mentions the words. All the same, caring this much about Palestinians’ lives is inherently political.
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The story’s surprising degree of feeling for Joaquin Phoenix ‘s Joe saves “Eddington” from simply serving as fodder for overheated social media discourse and crusading op-eds.
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Instead of living the life of James Bond, the spy hero of “Ghost Trail” copes with PTSD, the result of living in exile and surviving torture.
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Arts Remembrance: Tribute to Jazz Producer Alex Lemsky