An unlikely buddy comedy-drama about the friendship between a suicidal castaway played by Paul Dano and a flatulent corpse played by Daniel Radcliffe, Swiss Army Man doesn’t seem like the kind of movie you’d watch with your mother. So what was it like to be the mothers of the film’s…
Stanley Kubrick once sent his friend John le Carré a letter about why he couldn’t adapt one of the author’s books. “Essentially,” he wrote, “how do you tell a story it took the author 165,000 (my guess) good and necessary words to tell, with 12,000 words (about the number of…
Can Steven Spielberg do comedy? That seems like a dumb question, since nobody has done more to bring wit to the modern blockbuster; Raiders of the Lost Ark and Jaws boast as many laugh-out-loud moments as they do thrills. But those gags are often incidental, of the tension-breaking kind. When…
Woodrow Wilson described D.W. Griffith’s notorious Civil War epic Birth of a Nation as “writing history with lightning.” Gary Ross’ Free State of Jones, which covers roughly the same period as Griffith’s film, is more like writing history with index cards. Diligent and informative but also fragmented and inert, it…
The most surprising thing about the new buddy action-comedy Central Intelligence is the sight of Kevin Hart playing straight man to another actor’s antics. In previous comedies, Hart has been the pint-sized, fast-talking dynamo at the center of the action. Even in movies where he’s the guy in over his…
In his tight, trim, health insurance thriller A Monster With a Thousand Heads, Mexican-Uruguayan director Rodrigo Plá achieves a visual style that is ice cold but also deeply human — a clever way to depict an all-powerful system that feeds on our lives and thrives on our fallibility. Plá opens…
In cinema, all things move towards acceptance. In time, debates about filmmakers usually settle in favor of the filmmaker — not because detractors change their minds, but because the urgency of the conflict wanes, and stalemates go to the fans. It’s hard to believe that battle lines were once drawn…
In Anna Rose Holmer’s The Fits, emotion becomes motion and psychology becomes space. It’s a coming-of-age story, but Holmer mostly eschews dialogue and standard storytelling devices; she tells her tale through movements and patterns and the way that she films them. The Fits follows Toni (Royalty Hightower), an 11-year-old tomboy…
Finding Nemo may have been a cartoon about a clownfish traveling across the ocean looking for his son, but it was also one of Pixar’s first overt forays into the workings of the human mind. The film, from 2003, was haunted by loss: The protagonist, Marlin (voiced by Albert Brooks),…
Back in 2013, James Wan’s The Conjuring represented the high point of a wave of mainstream horror that showed there was still value in old-school scares — that there was life beyond torture porn and slick slasher reboots. It was a ghost story-turned-possession thriller that mined terror out of the…
If you can get past the spectacle of British and Australian actors portraying some of the most important figures of 20th-century American literature, Genius is a good example of a prestige pic that is not only literate but surprisingly vibrant. It’s the story of the tumultuous relationship between hot-tempered, Asheville-born…
In 2013, a 22-year-old Palestinian named Mohammed Assaf won the second edition of the Middle Eastern singing competition Arab Idol, a spinoff of the same popular British Pop Idol franchise that also gave us American Idol. Mohammed had snuck out of Gaza and crashed the auditions in Egypt before making…
The main attraction in the engaging, largely predictable chess drama The Dark Horse is the gripping lead performance by Cliff Curtis, a part-Maori actor from New Zealand who has spent more than two decades doing notable character parts in big films. You’ll likely recognize his face: His look suggests, at…
New Zealand’s Cliff Curtis has been stealing scenes for years now, so it’s nice to see him playing a bona-fide lead in the new chess drama The Dark Horse. Based on the life of Genesis Potini, a bipolar Maori chess champion, the film follows a coach and a group of…
At long last, Whit Stillman has adapted a Jane Austen book. To be sure, he has touched on her work numerous times — particularly in his 1990 directorial debut Metropolitan, in which an argument about Mansfield Park gave us the immortal line “I don’t read novels. I prefer good literary…
There’s a scene during the first half of Bryan Singer’s X-Men: Apocalypse that is so emotionally resonant, so well-put-together and so quiet that you might briefly forget you’re watching a superhero film. It involves a raid by some Polish officers in the remote forest where Erik Lehnsherr, aka Magneto (Michael…
Like The Imitation Game, The Man Who Knew Infinity is a Great Man biopic about a man most viewers have probably never heard of. Srinivasa Ramanujan was a brilliant, self-taught Indian mathematician who in his brief time on this earth made seismic contributions to his field. That he’s largely unknown…
Not much has been heard from Jacques Audiard’s Dheepan since it won the Palme d’Or at last year’s Cannes Film Festival, beating out pictures like Todd Haynes’ Carol, László Nemes’ Son of Saul and Hou Hsiao-hsien’s The Assassin. But going into this understated film cold isn’t a bad way to…
If nothing else, Captain America: Civil War stands as something of a corrective to this spring’s other superheroes-bludgeoning-each-other opus, Batman v Superman. While that film was severe and downcast, Civil War is expansive, at times even light. BvS strove to redefine its superheroes to fit newer, darker, borderline-sociopathic molds; Civil…
A fractured film about a fractured family, Louder Than Bombs takes a potentially tired premise and reshapes it before our eyes. It opens on a newborn’s tiny hand helplessly clinging to a father’s finger, and ends with a different father watching his two sons sleep. In between is a story…
Nearly every Alien movie begins the same way: in the vast loneliness of space, in a ship that’s running on its own. In the first film, Ridley Scott’s Alien (1979), the camera slowly glides through the dark, lifeless corridors of the commercial towing vehicle Nostromo before locating the sleeping bodies…
Don’t hold it against Tom Tykwer’s A Hologram for the King that its best scene is also its first. As Alan Clay (Tom Hanks) strides down a suburban street singing a modified version of Talking Heads’ “Once in a Lifetime” (“You may find yourself … without a beautiful house ……
