Oppenheimer
At its best, Oppenheimer is downright surreal, not only in the flashes of images that may not be readily deciphered, but also how its director merges time lines together through incisive editing.
At its best, Oppenheimer is downright surreal, not only in the flashes of images that may not be readily deciphered, but also how its director merges time lines together through incisive editing.
Director Maria Fredriksson got more than she bargained for in this onscreen family squabble, and audiences will too.
At its best, the documentary describes the homophobia of mid-20th century America by those who lived through it, while also tracing the highs and lows of the movie star’s career.
The film’s deceptively light touch builds to a climax that quenches the thirst for an unabashedly romantic drama that viewers may not have realized they had.
Director Cristian Mungiu lays bare the tensions, pettiness, and fears in the mountainous Transylvanian rust belt, and takes the temperature of the populace—it has a high fever.
This biopic of musician and composer Joseph Bologne may take his fame to the next level.
Ari Aster has come up with a fantastical, Freudian grab bag of guilt and resentment for his third film.
Of the dozen or so narrative films seen at this year’s Sundance Film Festival, this expansive and novelistic film from Pakistan takes the prize as the most illuminating.
A visually vibrant tribute to the “foremost video artist in the world” and “the father of video art.”