This summer, a movie spoof arrives, riffing on the disaster-film genre, but with a variation never attempted before, or at least not on this scale: Make it gay, make it drag, make it unabashedly queer.
It is satirical absurdism cranked up to at least 15, introducing more and more genre-bending gimmicks per scene yet never winking once as the ridiculousness piles up.
Kontinental ’25 shows a gentler side of Radu Jude’s cynical worldview and tackles issues of existential morality in an almost level-headed manner.
It is hard to make films about current events so soon after they have occurred.
The cinematic equivalent of a lice-ridden raccoon and a scaly iguana fed into a fast-action blender and force-fed warm to the viewer over 170 minutes.
Previous Paul Thomas Anderson films are remarkable for the way they elude easy definition, but here, everything is exactly as it seems.
Bruce LaBruce’s reworking of Pier Paolo Pasolini’s 1968 Teorema is sex-positive, celebratory, and feverishly explicit.
A gutsy, quiet movie with a tinge of melancholy to go with its offbeat premise.
A whimsical musical and an almost psychedelic trip to the suburbs of Florida; a science-fiction farce loaded with foul language, explicit violence, and sexual references; and an amalgam of noir and black comedy.