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With the flesh-hungry cannibal siblings of Raw (2016) and the murderous, androgynous mechanophile of Titane (2021), filmmaker Julia Ducournau injected fresh blood into New French Extremity. The ...

In an interview conducted when he was making Europa ’51, Roberto Rossellini defined Italian neorealism as “a response to the genuine need to see men for what they are, with humility and without ...

Gone with the Wind Two brothel madams (or as close as Hollywood dared get to them), one a lurid gash of pornographic pink throbbing against William Cameron Menzies’ mourning-black backdrop of charred ...

By Grady Hendrix in the March-April 2020 Issue P erpetually out of step, Shinya Tsukamoto goes where his gut leads him, handcrafting freaked-out sci-fi nightmares from 8mm, 16mm, 35mm, digital video, ...

(Nikita Mikhalkov, Russia, 2007) For numerically titled Russian movies of the moment, stick with 4 instead of 12. Old soul Nikita Mikhalkov’s appropriation of the 12 Angry Men template is a bloated ...

By Maitland McDonagh in the May-June 2020 Issue A l Adamson made wild movies and lots of them; his work ethic was exemplary. They weren’t conventionally good, but they were chockablock with blood, ...

Americans are the beloved noise-makers, the unschooled and the uncut, appreciated most when at their simplest. Poet Charles Bukowski is the classic case of the American original who found his first ...

The door to our dark places is guarded by an ape. He’s been there through a hundred years of cinema: Merian Cooper’s Kong, Charlton Heston’s “damn dirty” captors, the test gorillas of Frederick ...

Thoughtful, original film criticism delivered straight to your inbox each week.

Thoughtful, original film criticism delivered straight to your inbox each week.

Thoughtful, original film criticism delivered straight to your inbox each week.