In France, the home of the Cannes Film Festival, films released in theatres cannot be streamed until a 36 month window passes.
The new romantic comedy “Love, Simon” is all about symmetry. This is a well-ordered world where everyone exists in a state that is not perfect, but rarely uncertain.
Anyone looking for something diverting to see over the weekend should head to Amazon or iTunes to stream the new digital release “The Death of Stalin.” The film builds itself on paradoxes that are both intratextual and extratextual.
As much as Michael Anthony’s “Green Days by the River” has turned into a symbolic text of colonial life in Trinidad and Tobago, the story will always depend more on its value as a coming-of-age tale more than anything else.
Steven Spielberg’s recently released film “The Post” is a very particular kind of “culturally relevant message film.” Any critic who has written anything about it in the last month since its release is aware of it.
There’s something paradoxical about a 21st century film musical and even more so about “The Greatest Showman,” which is not the best or worst representation of what musicals are in 2017.
I went into “Molly’s Game” knowing much nothing about it beyond the fact that it was written by directed by Aaron Sorkin, in his directorial debut, and that it starred Jessica Chastain and Idris Elba.
Last week’s column on “A Ghost Story” had me thinking about representations of loneliness on screen.
“Mudbound” is a film that will be sold on its relevance. Its socio-political significance.
“Beach Rats,” the winner of the best director award at this year’s Sundance film festival, is a filmic bildungsroman.
I made the potentially problematic decision, to screen Sidney Lumet’s 1974 adaptation of “Murder on the Orient Express” a few days after watching the recent 2017 Kenneth Branagh directed version.
Terence Davies has never met an opportunity for a tableau vivant he did not like.