‘The Club’ review: A portrait of exiled priests
Four men and one woman serve out a unique form of spiritual punishment — or lack thereof — in "The Club," Chilean director Pablo Larrain's distinctively barbed, psychologically complex response...
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‘The Measure of a Man’ review: French detective tries to make ends meet
Literally translated, the title of Stephane Brize's "Le Loi du marche" means "Market Law," but the film is even better served by its English-language title, "The Measure of a Man,"...
‘Mountains May Depart’ review: A family’s journey across time and continents
The cinema's consummate chronicler of a China evolving so rapidly that its own citizens can scarcely keep pace, Jia Zhangke strikes a particularly melancholic chord in "Mountains May Depart," a...
‘In the Shadow of Women’ review: Love vs. the male ego
The currents of desire, jealousy and resentment that flow through a relationship over time receive an exquisite closeup from director Philippe Garrel in "In the Shadow of Women," a tightly...
‘Entertainment’ review: Neil Hamburger’s weird, sad clown strikes again
Variety Not everyone found much to laugh about in director Rick Alverson's 2012 Sundance competition entry "The Comedy," an extravagantly rude, confrontational and surprisingly poignant study of a dissolute New...
‘Electric Boogaloo’ documentary review: Diving into film history
For the second time in a year, the meteoric rise and ignominious demise of 1980s schlock juggernaut Cannon Films comes to the screen in feature-length documentary form. Faster, sleeker and...
‘Jauja’ review: Viggo Mortensen on a transcendent trip
There's more dialogue in the first reel of Lisandro Alonso's "Jauja" — his first film made with a professional cast and a screenwriting partner — than in all four of...
‘Blind’ review: A tragic, playful tale
"It's not important what's real as long as I can visualize it," notes the narrator heroine early on in "Blind," aptly setting the stage for a lithe, quicksilver portrait of...
‘Me and Earl’ director Alfonso Gomez-Rejon on taking cues from Scorsese
Many a filmmaker shows up at the Sundance Film Festival dreaming of becoming the next Martin Scorsese. But only Alfonso Gomez-Rejon can claim to have crashed on the legendary director's...
Review: ‘Da Sweet Blood of Jesus’
Although Spike Lee has made it clear from the start that his Kickstarter-funded "blood addiction" drama "Da Sweet Blood of Jesus" isn't a remake of 1972's blaxploitation "Blacula," it turns...