drama
There’s a refreshing nature in Wild Nights With Emily to how Madeleine Olnek gives Dickinson a certain dignity while embracing her truths that were buried in her work.
Lee Chang-dong’s masterful Burning is a pot of luscious ambiguity that has us pining for answers.
A rare superhero movie that highlights the ordinary alongside the extraordinary, Fast Color is a bold and breathtaking spin on the genre that deserves to be seen as widely as any movie released under the Marvel banner.
The story of the underdog will always be a crowd-pleaser. An unknown phoenix yearning to…
Despite its Green Book-esque premise, Native Son creates a Chicago that draws the audience in with its effortlessly alternative pizzazz.
Donbass is the darkest of comedies, showing how wartime mania can fundamentally transform a nation overnight.
We are officially two episodes into the final season of Game of Thrones, with only four…
Prince Rogers Nelson never fell prey to the novelty trap. His theatrical mystique—the leather and…
In this latest Video Dispatch, we discuss Rainer Werner Fassbinder’s 13-hour TV production Berlin Alexanderplatz.
If American Gods can pull together a few more character driven episodes like this for the final three episodes of the season, they can guarantee me back for season 3.
City of God is a great introduction to world cinema – and here’s our guide to the best foreign language films to seek out afterwards.
An absolutely incredible film, The Garden Left behind deserves every single accolade it draws in and every bit of praise it receives.
Lost Child has an unquestionably compelling foundation, but it becomes too drenched in its own sentimental messaging.
For a director obsessed with the decadence of Italy’s most powerful, Loro feels like the film Paolo Sorrentino was born to make.
Red Joan is suffocatingly mediocre, a political thriller with no interest in the politics of the story, or anything remotely thrilling.