By the end, the film’s critiques build to a significant revision of the myth of the Trojan War.
The anti-climactic climax, though, rescues the film from obnoxious whimsicality.
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The Incomer is about being isolated for so long that you forget how to want things.
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This relentlessly cruel rejiggering makes every Evil Dead film before seem like Sunday school.
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Poignantly, McElwee wrestles with the perils of personal documentary filmmaking.
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The singer has teased a new release date for the set and announced a companion album to boot.
The Leeds junglist tells a story in the wrong order, in the right way.
The album turns the rapper’s formal minimalism into a source of excitement.
McElwee discusses, among other things, his new film and staring down the loss of his son.
There’s an enigmatic quality to the role of Nolan in the current filmmaking landscape.
The show has trouble leaning into kick-ass naughtiness for more than a few minutes at a time.
The show is at its best when it examines the questions that Susanna Kaysen did in her memoir.
The common refrain this season has been one of despair, of theatrical death by dearth.