EXPECT THE UNEXPECTABLE: Welcome to Wakaliwood, where rebellious, popular action films upheave classist Ugandan logic.
Danny Boyle’s film presented a stylish rendering of a very ’90s binary: counter-culture cool, or mainstream-endorsed responsible living?
The city became the go-to for a very specific type of crime movie, but Spotlight is the first film to truly capture it since Good Will Hunting.
Feminist film writing has historically struggled with a problem of reach limited by privilege. Can online journals solve the access issue without bowing to popular influence?
Ryder has always been trapped in her own anticipatory nostalgia, and the public has always wanted to keep her there.
He does the job so well you don’t notice he’s doing it better than anyone else could.
Ursula was a singular Disney villain, and behind the animated tentacles was a real-life, big-haired, poo-eating Baltimore drag queen named Divine.
The rising influence of women in Indian film has been crucial to how their stories are told on and off-screen, putting more power into their hands.
Originally published under a pseudonym, the novel inspiration behind the latest Cate Blanchett film is the kind of thriller you would expect from the author of The Talented Mr. Ripley.
Guy Maddin’s new feature imagines “unrealized, half-finished or abandoned films by otherwise successful directors” not as artifacts to pine after but as the accumulated muck of cinematic history.