“I like creating work that people are repulsed by”: An interview with Rachel Maclean
The feted Scottish film and video artist Rachel Maclean talks Barbie, James Bond, pink-punk maximalism and the subversive power of bad taste.
The feted Scottish film and video artist Rachel Maclean talks Barbie, James Bond, pink-punk maximalism and the subversive power of bad taste.
The iconic Blondie singer narrates and appears in Kramer’s new documentary ‘So Unreal’, a mind-bending deep dive into prophetic cyberpunk cinema.
Johan Grimonprez’s complex, cacophonous ‘Soundtrack to a Coup d’Etat’ is a feat of design, narration, sound, and cinema about an important chapter in Congo’s tragic relationship with the UN, the U.S., and Belgium.
Director Gabriela Cowperthwaite’s Cold-War-in-space thriller benefits from a lean-and-mean B-movie sensibility crossed with seamless effects work and potent performances.
A pleasant-enough musical reworking of the 2004 comedy, hitting the big screen on its way to becoming a slumber-party staple for decades to come.
This haunted-swimming-pool thriller goes from creepy to ridiculous and back again, but as January-dumped horror films go, it’s a cut above.
From personal journeys of discovery to man’s inhumanity to man, the stories shared in the films of 2023 speak to our moment in history and will continue to do so for generations to come.
Alice Walker’s saga of sisterhood and survival becomes a rousing and heartfelt screen musical.
Musical prequel manages to find the sweet spot between the wicked psychedelia of the original Willy Wonka and the feel-good delights of the director’s Paddington movies.
More a retrospective documentary than a traditional concert film, this souvenir of Beyoncé’s recent smash tour will delight fans who want a peek behind the scenes even as those peeks occasionally distract from the artist’s extraordinary stagecraft.
What was clearly designed to be a victory lap for Disney’s 100th anniversary will be mostly forgotten by the time the studio turns 101.
While this sumptuously mounted production delivers as a sweeping war epic, one hopes Ridley Scott’s promised director’s cut will fill in the emotional and historical blanks.
This tedious, overlong prequel sheds little new light on the Hunger Games universe, although Viola Davis and Jason Schwartzman camp it up with gusto.
This admirable attempt at subverting superhero-movie formula and tone should have soared beyond where MCU movies typically go.
This video-game adaptation never lives up to its premise’s potential as either a scary movie or an exercise in absurdism.
Nearly three hours of Taylor Swift in concert might be too much of a good thing for newcomers, but devotees will wish this beautifully shot and edited performance doc had been even longer.
A hard-hitting immersion into life and death under Russian invasion in eastern Ukraine, ‘White Angel – The End of Marinka’ is seen through an evacuation team’s GoPro helmet footage.
Maria Fredriksson plunged into the doc-making deep end for her debut feature ‘The Gullspång Miracle’, screening at DOK Leipzig.
It takes a village to perform an exorcism, and it takes the power of Ann Dowd and Ellen Burstyn to make this familiar material compelling.
This year’s San Sebastian was a sunny festival filled with discoveries.
Revered Spanish filmmaker Victor Erice receives the Donostia Award at SSIFF.
While lovely to look at, Gareth Edwards’ latest doesn’t make the case for why we should stop worrying and learn to love AI.
Spanish director Isabel Herguera’s exhilarating and imaginative animated tale about a roving artist is sparked by real-life Bengali feminist thinker Rokeya Hossain and her 1905 story about Ladyland, a country run by women.
If Expend4bles were any more by-the-numbers, it would have a numeral in its title. Oh, wait.
Germany’s premiere festival platform for rule-breaking indie cinema celebrated its 30th edition with audacious acid-punk UFO comedies, bleak kidnap thrillers and a ground-breaking peek into the multiverse.
Branagh’s most successful Agatha Christie adaptation to date finds mystery and suspense in period, setting, and another distinguished ensemble.
We opened our Venice dailies with an anniversary salute to both the Biennale’s 80th Mostra del Cinema and The Film Verdict’s entry into its third year. I’d like to end with a few words of gratitude to all the many film festivals that have embraced and supported our vision of providing the film community with […]
In ‘Woman of…’, the passive heroism of a Polish working class father of two who identifies as a woman is affectingly portrayed in the inimitable style of Malgorzata Szumowska and her co-director and D.P. Michal Englert (‘Never Gonna Snow Again’).
Part survival-revenge drama, part love story, Giorgio Diritti’s ‘Lubo’ addresses the Swiss state’s forcible removal of Jenisch children from their families beginning in the 1930s, and while Franz Rogowski’s magnetism keeps his morally complex character sympathetic, the film feels too much like a miniseries cut down to a very long feature length.
Richard Linklater’s farce about a phony hired killer is charming and unpredictable, but it would benefit from dropping the “based on a true story” angle.
A withering take-down of Rome’s vapid middle class, Pietro Castellitto’s (‘The Predators’) exuberant second feature ‘Enea’ is an amusing, fast-paced game that winks at gangster movies and bows in Venice competition.
The gilded cage that was Priscilla Presley’s life with Elvis makes a perfect match for Sofia Coppola’s empathetic vision.
David Fincher brings his considerable style and craft to this procedural about a professional assassin, but not even Michael Fassbender can make the character distinguishable from a thousand other cinematic hired guns.
Bradley Cooper’s ambitious sophomore directorial effort, about Leonard Bernstein’s married life, soars and sweeps in some passages while falling flat in others.
Yorgos Lanthimos and Emma Stone reteam for an audacious comic odyssey that defies genre and convention.
Wes Anderson’s second Roald Dahl adaptation packs a feature’s worth of deadpan humor and aggressive visual style into just 37 minutes.
In his first feature film in eight years, director Michael Mann passionately captures a life where the drive for success and the threat of disaster were intricately intertwined.
In El conde, Pablo Larraín’s darkly comic horror-satire reveals that turning a real-life monster into the protagonist of his own monster movie is an effective way to process historical tragedy.
Debut director Janis Pugh’s off-beat musical rom-com ‘Chuck Chuck Baby’ is a rough-edged but warm-hearted celebration of working-class dreamers and queer liberation.
The third film in Denzel Washington and Antoine Fuqua’s ultraviolent thriller series is the best one yet. (If only that meant more than it does.)
This queer comedy remains uncompromisingly outrageous and hilarious from start to finish, and if it’s too weird to be a box-office smash, then it has the makings of a future cult classic.
‘Blue Beetle’ is a superhero movie with laughs, action, cultural specificity and human-sized stakes — here’s hoping there’s room for this character in the next reboot of the DC Universe.
Kaufman’s style could be deemed ‘screwball,’ could be deemed ‘surreality,’ and should probably be called ‘Screw Reality’. He is honored in Sarajevo International Film Festival
Once again, the Avant Premiere Series lineup aims to explore the best of regional TV production in Sarajevo International Film Festival
Lynne Ramsay, Charlie Kaufman and Mark Cousins Are Honoured at the 29th Sarajevo Film Festival.
This biopic of a gamer-turned-racer delivers sports-movie uplift and racing-movie thrills while never letting up on the product placement.
Maryna Vroda’s richly lensed feature debut is a melancholic look at a dying part of north-eastern Ukraine that’s seemingly untouched by the present war, and while the narrative holds interest thanks especially to the protagonist, it’s the documentary-like scenes that are the film’s heart.
The President of the Locarno Film Festival for 23 years, Marco Solari makes a graceful bow as he steps offstage.
Potent pacing and a charismatic lead propel this absorbing Israeli film in which a young soldier deserts his post during a Gaza incursion and escapes to Tel Aviv where he keeps running.
If the end of the world really is approaching, Jude may be our most trenchant Cassandra.