Director Mike Cahill is known for ambiguous science fiction that probes thought-provoking questions from the audience, but this film fails to do anything new. Open-ended questions are plentiful in the science-fiction genre, but they need a purpose.
In Emerald Fennell’s 2020 thriller-comedy “Promising Young Woman,” Cassandra “Cassie” Thomas (Carey Mulligan) spends her weekends pretending to be blackout-drunk in nightclubs in an attempt to see which fedora-clad horndog will try to drag her to bed.
When I watched the French-language film a second time this summer, I realized distressingly that I, like the film’s troubled protagonist Delphine, was locked in stasis, waiting for a God-sent green ray to shine life into my listless days.
In a society where righteousness is taken as common sense, “Yes, God, Yes” presents the greatest peril to the formation of every good person — the failure to see how our goodness may also serve us.
Although it exudes an intentional cheesiness in its creatively gory murders, the movie still avoids tropes one would expect from its inspirations. No, the best friends don’t die first, and no, the serial killer and traumatized teen won’t embrace each other after seeing life from each other’s eyes.
While “Friendsgiving” aspires to capture love and camaraderie among friends, the film feels more like a caricature of Los Angelenos and a shallow attempt at showing real relationships.
Released just under two weeks after their first-ever studio album “THE ALBUM” hit streaming, BLACKPINK’s new Netflix documentary has taken the world by storm, offering insight into the best-charting female K-pop group of all time.
With box offices quickly becoming a thing of the past, Blumhouse has doubled down on its efforts to produce streaming content for Halloween.
“The Devil All the Time” stood out to me because of its ensemble cast and thriller appeal. Yet, against all odds, “The Devil All the Time” bored me.
How are movies coming out during a pandemic?
Over the course of the last week, day-to-day life around the world has come to a grinding halt in response to the rapid spread of COVID-19.
In many ways, Wong Kar-wai’s “In the Mood for Love” is the first real movie I’ve ever watched.
In brief glances and lovelorn sobs, “Portrait of a Lady on Fire” finds a passion that transcends time and burns brighter with each day.
Duke alumni made a splash at Sundance this year — many of the films in competition were acted, directed and produced by Duke graduates now working in the industry.
Ekwa Msangi’s feature film, “Farewell Amor,” premiered at Sundance Film Festival Jan. 25.
Benedict Cumberbatch seems to be steadily making his way through the 20th century.
“The Painter and the Thief” follows the shocking meeting and budding friendship between an artist and the thief who stole her paintings.
The Oscars are still very white and very male, but they feel bad about it, apparently.
About a minute into “Jojo Rabbit,” the film’s 10-year-old protagonist has a conversation with his imaginary friend — Adolf Hilter.
Aneil Karia made his Sundance Film Festival debut with “Surge,” a psychological thriller that stars Ben Whishaw as Joseph, a troubled young man who lives an isolated life in London as an airport security officer.
