The clamor to do justice to 1972 did not cease, so here are salutes to four additional films, The Getaway, Last House on the Left, The Discreet Charm of the Bourgeoisie, and What’s Up Doc?.
In the annals of Russian repression, The New Greatness Case was a display of government overkill — until the events of this year redefined overkill.
If you find David Cronenberg’s cinematic philosophy on bodily abjection/assimilation and the artistic process intellectually stimulating, then you’re in for an intoxicating return to form from the man whose name is synonymous with the body horror genre.
Winner of seven Cesars, this mordant portrait of the corrupt Parisian press mid 19th century, along with the commodification of just about everything, speaks loudly to the internet era.
Jurassic World: Dominion feels like Universal pureed every spec script for a Jurassic Park sequel ever sent to it by first-year film students. It’s narrative slurry. Like the pink slime used as filler in cheap burgers.
Daniel Raim’s Fiddler’s Journey to The Big Screen is a terrific documentary about the creation of the titular film.
This Afrofuturist cyberpunk musical is a sprawling political manifesto poetically transcribed into a visual symphony of music and images.
The script is credited to five writers and, well, too many cooks spoil the bouillon.
So what if the American empire is doing more and more poorly? All that matters is hopping in alongside Tom Cruise for a super-duper roller-coaster ride inside an F-18.
Hellbender is not just a fabulous indie film about witches, it’s also an original coming-of-age horror movie.