2020s
Robert Schwentke’s German film “Seneca: On the Creation of Earthquakes” is the latest movie in which John Malkovich gets to yell at people.
My Sweet Land is a somber warning call that its events are not contained in one place or time, they are the story of humanity.
All these errors in execution aside, Green Border should raise international awareness of what’s happening to these refugees on the European border.
Universal’s marketing kind of screwed the pooch with Abigail. I’m going to explore where specifically the advertising fumbled, and why.
For the viewer who doesn’t mind overt imitation– Beacon, with its twists, turns, and choppy seas, may hold some interest.
They’re Here will struggle to connect to its audience, too often feeling as though it is attempting to only reach others whose experiences matches its own.
Ultimately, though the package may feel familiar, The Devil’s Bath still has cogent ideas to share.
Brats is a reminder old wounds can calcify and scab over turning into the foundation for something all the more beautiful.
Mars Express finds the right words and plucks the precise emotional heartstrings to make such a film more meaningful.
From Tribeca Film Festival 2024, Soham Gadre takes a look at CHAMPIONS OF THE GOLDEN VALLEY, BAM BAM: THE SISTER NANCY STORY & THE WEEKEND!
The overall effect is an icky jumble, at once anesthetizing and agitating, languorous and frenetic, a cinematic case of acid reflux.
Reading Rainbow cultivated an environment that was safe for kids and equally empowering — it engendered curiosity.
Wildcat becomes a lens through which to see beauty and empathize with one of our great American writers – and what a gift it is.
A powerful and poetic debut feature, Banel & Adama signifies Sy as an exciting young artist to watch in world cinema.
Liu Jian’s Art College 1994 rejects these clichés and instincts, instead seeing youth in the face of art for what it is: blowing a lot of hot air.