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.
Film
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.
Despite its ostensible Hollywood-friendliness, the action star's new film, Dragon Blade, bears all the hallmarks of his late-era work—namely, a propagandist's sense of not wanting to rock the boat.
The director's cut of 54 brings the film closer to the club's brand of disco-as-spectacle.
By situating a lesbian love affair in the conventions of classic Hollywood filmmaking, Desert Hearts became a cult favorite.
Ultron is the most frightening enemy the Avengers have had to face so far, but can an ongoing franchise have a legitimately terrifying villain?
Despite years of intimidation, censorship, and violence, Iran's filmmakers continue to rise above the nation's restrictions on the medium.
On the visual language of American Sniper, '71, The Hurt Locker, and Saving Private Ryan.
On Dennis Hopper's disavowed art-crime failure Backtrack, a film combining the work of Jenny Holzer, Jodie Foster as a glam-rock Patty Hearst, and Bob Dylan in a hardhat.
Ava DuVernay's Selma is more analytical than the average biopic—a negotiation between complex and intersecting histories, rather than a simple dramatic restaging.
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