However, if I may indulge one incentive to see the film — without giving too much away — it is this: in the same vein that Luca Guadagnino appropriated the peach as a vehicle for pleasure in “Call Me By Your Name,” Bong uses the peach as an agent of chaos in “Parasite.”
“Joker” is a film that operates under the aesthetic guise of a thoughtful film, shrouding the fact that it is absent of social commentary, made at the expense of the dignity of the mentally ill and people of color. This film is no laughing matter.
On the heels of stellar reviews for his supporting turn as Cliff Booth in “Once Upon a Time in Hollywood,” Brad Pitt has come back to the silver screen for the second time this year in James Gray’s “Ad Astra.”
To Ms. Lopez: I am sorry for underestimating you, in spite of my long-standing consciousness of your talent. May you win an Academy Award for your performance in “Hustlers.”
The work, which consists of a series of videos, envisions a post-apocalyptic version of the Holy Land, in which its female inhabitants are forced to traverse the terrain on various obstacles that keep their bodies from making contact with the earth.
While the majority of this weekend’s moviegoers shelled out their hard-earned money to “Captain Marvel,” several releases from the past few weeks faded into box office obscurity.
The Golden Globe Awards broadcast, held on Jan. 6, saw the Hollywood Foreign Press Association honor the 2018 achievements of the film industry and adhered to most early forecasts for predicted winners in the film categories.
Something special made its way onto the stage of the Shapiro Campus Center Theater over the weekend.
Dibble’s deliberate choreography, much of which brought the entire cast onto the small stage of the Laurie, never once was too busy, miraculously crowding up a space while also creating room to breathe.
On Oct. 4, the Wasserman Cinematheque hosted a special screening of Debra Granik’s ‘85 “Leave No Trace.”