A hyperstylized, subversive and empowering rape-revenge fantasy, Coralie Fargeat’s assured debut feature is all about the execution.
An intoxicating audiovisual experience, Hlynur Pálmason’s Winter Brothers combines a variety of daringly innovative techniques to explore the depths of an unstable young man’s fractured psyche.
The bizarre relationship between two Brazilian women establishes the foundation for a mind- and genre-bending cinematic odyssey in Good Manners.
In The Day After, South Korean auteur Hong Sang-soo employs stylish monochromatic photography and an intoxicating variety of artful techniques to tell a self-reflexive, modern moral tale with shades of gray.
In Beauty and the Dogs, Tunisian director Kaouther Ben Hania employs innovative cinematic techniques to tell a vital and uncompromising tale of female empowerment, but an overall lack of subtlety detracts from the bite of her film.
Taylor Cherry reviews Mudbound, the Netflix original film that earned several nominations throughout the film industry awards season.
Taylor Cherry reviews the latest installment in the Cloverfield franchise, which skipped theaters and appeared directly on Netflix.
Emily Caulfield reviews Faces Places from legendary French filmmaker Agnès Varda and photo-muralist JR, which kicks off the Spring 2018 schedule at UW Cinematheque. The film assembles a quilt-like portrait of France-at-large by piecing together the small stories of everyday life.
The addition of five live-action Batman films between 1989 and 2005 to the Netflix catalog provided Taylor Cherry an opportunity to revisit and reevaluate Tim Burton’s Batman (1989) starring Michael Keaton under the cowl.
Erik Oliver discusses the strengths and weaknesses of Luc Besson’s comic book adaptation, Valerian and the City of a Thousand Planets, and concludes that Besson’s cool sci-fi canvas outclasses his uncool approach to storytelling.