The biggest problem with turning Dune into a film is that the book appears increasingly derivative of generic sci-fi tropes.
A man says Blue Bayou took details of his life without his permission. Several women who appear in the documentary Sabaya say they did not consent to be filmed. How can filmmakers avoid these ethical pitfalls?
“The 52-hertz Whale,” which sings a song at a frequency no other whale uses, is a social media phenomenon. But this film shows that the phenomenon says more about us than whales.
With dense split-screen use of period artifacts and a killer Velvets soundtrack, Todd Haynes’s documentary is a loving tribute to his favorite band.
Jenna Cato Bass’s film is a reckoning both for her and all the clueless white children who never thought about the Black women who served them.
Fauci is not quite a hagiography of “America’s doctor,” but it comes close. It ignores or twists the flaws in his responses to both AIDS and COVID-19.
In this film about stardom, the viewer has nowhere to appreciate and connect with the characters and concepts.
Bill Morrison’s new documentary The Village Detective: A Song Cycle is an eerie meditation on mortality made from forgotten parts of cinema history.
This update brings the star power of Jessica Chastain and Oscar Isaac, but can’t match the emotional intensity of the original.
Like many of Silver’s films, the 1975 indie drama about Manhattan’s old Jewish enclave has been unjustly forgotten. But you now have the perfect opportunity to discover it.
Filmmakers Betsy West and Julie Cohen talk to Hyperallergic about Murray’s archives and holding themselves accountable as white women biographing a Black figure.
Sean Baker’s film about a washed-up porn star seducing a teenage girl is sexually frank in a way few US films are now.