Frankenstein
Guillermo del Toro’s Frankenstein has no interest in existing within the horror genre, but rather as an existential and exuberant drama elevated by impeccable production values.
Guillermo del Toro’s Frankenstein has no interest in existing within the horror genre, but rather as an existential and exuberant drama elevated by impeccable production values.
Richard Linklater’s Nouvelle Vague won’t start any cinematic revolution, but it will defend the idea that making movies (and watching them) is an inspiring collective effort.
Hollywood finds a way to turn a star into a martyr of the arts, even if he’s one of the most well-behaved guys in the music industry.
The Revivals section included the blueprint of the genre-blending masala movie presented in the original director’s cut, once censored and unseen for decades.
Three hidden gems and undistributed films that deserve attention.
There could possibly be no more fitting option to end the 63rd New York Film Festival than with the selection of a New York–set romantic comedy with gravitas.
The musical gives Jennifer Lopez a chance to unleash all her superstar powers—both musical and cinematic.
With a sly undercurrent of darkness, Jay Kelly is more bitter than sweet. It’s far richer and more complex than you might expect.
One of the year’s most intense and unclassifiable thrillers.