Throughout, the era-defining yet problem-plagued music festival astounds in large part for all the disasters that didn’t occur.

The dearth of substantial extras leaves the film, perhaps appropriately, to mostly speak for itself.

Guy Ritchie’s live-action remake is content to trace the original’s narrative beats with perfunctory indifference.

Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today.

Alternating between color and black and white, the video’s concept is refreshingly simple.

Today, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825.

The way the film shuttles through its 90 minutes, it’s as if it’s been stripped of its most crucial narrative parts.

Robert Eggers loosens the noose of veracity just enough to allow for so much absurdism to peek through.

This year’s selections exhibit a scope and ambition that should continue to draw adventurous filmgoers for years to come.

The second season of 13 Reasons Why picks up in the aftermath of Hannah Baker’s death.

The setting of the game is the familiar stuff of science fiction, but the lens through which it’s viewed is not.

Kippers for breakfast, Aunt Helga? Is it St. Swithin’s Day already? No, it ain’t, dear. ‘Tis Downtown Abbey Day.

Terrence Malick’s film means to seek out souls caught in the tide of history, but which move against its current.

The singer-songwriter imbues her sophomore effort with a multitude of intertextual meanings and nods to her predecessors.

As a musical, Dexter Fletcher’s film is just fun enough to (mostly) distract us from its superficiality.

The film is at its strongest when depicting how Diamantino becomes a tool of politicians hoping to oust Portugal from the EU.

The film is content to peddle the naïve notion that love is the panacea for all that ails you.

The series finale is riddled with narrative conveniences to help the writers more easily tell their story.

This is a beautiful refurbishing of one of Jarmusch’s more uneven films, which is still a must-see for a handful of beautiful performances.

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Pedro Almodóvar’s latest only occasionally captures the spry, comedic rhythms and impassioned intensity of his finest work.

Bruno Dumont seems perpetually aware of the trap of familiarity, which may be why he indulges in some of his most inscrutable filmmaking.

Featuring a searing performance from Anna Karina, the film much more than the scandal that made it famous in France.

Bertrand Bonello’s quixotic, slow-burn genre film is political largely in the abstract.