The messiness of Moore’s film starts to feel appropriate for the times we’re in. With a new issue being debated every day, is it any wonder that Fahrenheit 11/9 has an everything-and-the-kitchen-sink approach?
Life Itself loads up plot line on top of plot line to imitate emotional depth, and that kind of narrative manipulation doesn’t work for everyone.
This documentary on his life’s work offers a personalized glimpse into a bygone world of entertainment and the legacy of racism that black artists still grapple with today.
Call it a revisionist or an absurdist Western if you will, but Audiard’s film feels both refreshingly new and nostalgically familiar.
A sneak peek at this year's Chicago International Film Festival, which runs from October 10-21.
Claire Denis accepts the Golden Thumb at the 2018 Ebert Tribute at TIFF.
On two world premieres from two Oscar nominees, Barry Jenkins and Steve McQueen. They also happen to be two of the best films of 2018.
On four films from the Midnight Madness program at TIFF, including new works from Gaspar Noe and Peter Strickland.
A story half-told.
It brings me no joy to say that Jeremy Saulnier’s newest, and arguably his most ambitious, film is his first misfire.