The Horror of It All

Sep 18, 2017 — Hong Sang-soo has begun shooting his twenty-second feature, reports the Yonhap News Agency. This one stars Kim Min-hee and Kwon Hae-hyo, both of whom appeared in Hong’s Cannes competition entry, The Day After. Kwon's management agency tells Yonhap: “We understand...

Sep 17, 2017 — Matteo Garrone’s gritty portrait of the Neapolitan Mafia draws on a lineage of Italian crime films dating back to Francesco Rosi’s trailblazing Salvatore Giuliano.

Sep 10, 2017 — “Fear rises like gas from a corpse in Armando Iannucci’s brilliant horror-satire The Death of Stalin,” begins the Guardian’s Peter Bradshaw. “It’s a sulphurous black comedy about the backstairs Kremlin intrigue that followed the death of Joseph Stalin in 1953,...

Aug 1, 2017 — From Pittsburgh, where he’s currently working on Where’d You Go, Bernadette? with Cate Blanchett and Kristen Wiig, Richard Linklater—seen above directing Julie Delpy and Ethan Hawke in Before Sunrise way back in 1995—called into the Television Critics Association on Sunday,...

Oct 18, 2016 — Guillermo del Toro’s anti–Wizard of Oz refracts the surreal traumas of the Spanish Civil War through the eyes of a young girl.

Mar 15, 2016 — Set during the height of McCarthy-era paranoia and arriving in 1962, in the middle of the Cuban Missile Crisis, John Frankenheimer’s high-anxiety Communist conspiracy thriller tapped into the darkest fears of Cold War America.

Apr 9, 2013 — David Cronenberg and William S. Burroughs: it was a meeting of the mutant minds years in the making.

Jan 24, 2012 — From the scary thuds and mysterious roars that accompany the no-frills titles to the bizarrely poignant final image of the monster, alone at the bottom of the ocean, Ishiro Honda’s Godzilla is all business and pure dream.

Oct 4, 2011 — Director Catherine Breillat writes about the primal pleasures of watching Pier Paolo Pasolini’s notorious film.

Aug 11, 2008 — Every Guy Maddin movie creates the illusion of a secret history. His willfully primitive cut-rate spectacles seem like artifacts, reanimated bits of cultural detritus, but also like hauntings, the return of the cinematic repressed. From the start, Maddin’s sensibility was...