On doubles, haunted spaces, memory, and grief in Twin Peaks, Possession, and Vertigo.

Like the absurdists, David Lynch brings us to the void to remind us it’s there—and to invite us to laugh into it.

The perfection of Jan de Bont’s 'Speed' owes not to its exemplification of “classical” Hollywood narrative, but to the intensity of its enthusiasm for those norms.

The Talking Heads are strange truth-tellers, joyfully angry people, persistently interested in the power of art. And collaborating with Jonathan Demme elevated their music to something truly transcend...

This, more than anything, informs the ethos of Chungking Express: loneliness and the hope that, maybe, someday, it won’t be quite as potent as it is now.

If you go into I Saw the TV Glow hoping for the straightforward catharsis of conventional horror movies, you will be disappointed. Schoenbrun moves too slow, too thick, too open. But this is what allo...

In the world of Jarmusch’s film, the purpose of work lies not in external achievement, but in the personal satisfaction of doing.

L.A. Story is romantic, hopelessly. Our four lovestruck main characters fall in and out of their spells. The freeway sign is embraced. The paradise could be believed.

In Cat on a Hot Tin Roof, a carnal energy roils and simmers in the air, like thunderstorms rolling in over the plantation, drenching everyone to the bone.

The first act of Atonement takes place in the summer of 1935 in Shropshire, England, and this is the kind of heat that’ll drive you insane

Last night at 11:30, I turned on the TV and Dead Poets Society was just starting. I ended up watching it all the way through, until 2 a.m.

If Seconds (1966) came out today, with its horror lens firmly trained on themes of extreme plastic surgery, dread of aging, and get-happy-quick schemes, it would likely have found a ready A24 audience...

Mann’s cinema is that of love and longing on a life-and-death scale—all that matters are the compressed moments we have in which to share it.

Around the margins of their sales work, the mag crew in 'American Honey' lives a hedonistic existence, chasing impulses and urges, expressing themselves physically when their verbal powers fail them.

For most of Spielberg’s career, science fiction has been the mechanism through which he learns and teaches empathy. But in Disclosure Day, empathy itself is the speculative leap

ALT: Mads Mikkelsen Jumps and Dances in Another Round

Stand by Me is about memory. It’s about the ways in which the people who matter do keep standing by us, even after they’ve fallen away.

Out of Sight is a heist story, a sexy potboiler, a noir rom-com that resurrects and perfects the lost art of cinematic sexual tension.

This month, Chad and Elizabeth sit down with author Karina Wolf to discuss midlife crisis and Thomas Vinterberg's 2020 film, Another Round.

Why does Ray Peterson (Tom Hanks) choose to spend his vacation at home? It’s the great secret at the heart of The ’Burbs. I’d wager it’s the riddle at the heart of the American suburbs, too.

Why does Ray Peterson (Tom Hanks) choose to spend his vacation at home? It’s the great secret at the heart of The ’Burbs. I’d wager it’s the riddle at the heart of the American suburbs, too.

Abel Ferrara recently spoke with Bright Wall/Dark Room from Rome about his new memoir, Scene, his films, and his life as an artist.

Mann’s cinema is that of love and longing on a life-and-death scale—all that matters are the compressed moments we have in which to share it.

Mann’s cinema is that of love and longing on a life-and-death scale—all that matters are the compressed moments we have in which to share it.

What I’ve grown to appreciate is that Superman II is really a movie about the necessity of Superman as an American myth—about the very meaning of Superman.

John Cassavetes’ The Killing of a Chinese Bookie is a masterpiece—not in spite of its messiness but rather because of it.

Religious Cinema for Non-Believers is a collection of longform film criticism essays written over the span of a decade by theologian and film critic Joel May...

More often than not, the blockbuster bomb is true of heart, true of passion, and truly, deliriously confounding.

Over the two decades of their collaboration, the films of Powell and Pressburger emerged as the working out of a love affair with Britain and Britishness.

Wild Things operates at such a baroque pitch that it becomes a satire of the erotic thriller while also reveling in the erotic thriller.

John Boorman's 'Point Blank' is cool and cryptic, a relentlessly modern film about a relentlessly brutal man with single-minded ambitions.

The Thin Man movies created a truly equal romantic partnership that was neither stumbling toward matrimony nor frustrated by its restraints.