Film
Director Monia Chokri finds a language for communicating Sophia’s desire without putting her body on display.
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Themes of class, race, and artistic appropriation reminiscent of “American Fiction” lurk beneath “Crumb Catcher”‘s generic conventions.
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There’s more horror on the horizon, but “Longlegs” will undoubtedly stand as one of the buzziest chillers of 2024.
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“The Devil’s Bath” demands your full engagement; along with its primordial intensity, a great deal of subtle intelligence lies beneath its visceral surface.
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It really bums me out to tell you that “MaXXXine,” the much awaited final film in the “X” trilogy, is an underwhelming ending to an otherwise interesting nu-slasher series.
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The latest film from Yorgos Lanthimos is a confusing mishmash of forced weirdness.
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A profound piece of director Chris Wilcha’s life was being disrespected and threatened with extinction. He had to do something. He had to make a documentary about it.
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At this year’s festival: the Best Film of 2024, “We Strangers,” and a slew of gossipy docs on show business celebrities.
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Two films about the glories of summer are infused with bittersweet reminders of the reality of social class in America.
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