'Hard Kill': Film Review

Also Read: 'David Byrne's American Utopia' Film Review: Byrne and Spike Lee Burn Down the House With StyleHis parents Paul and Leann — both veterans themselves — rally to their son’s defense, and the next few years involve attempted defections to Russia and Venezuela, an application for asylum in Canada, a car accident on a snowy highway, allegations of government torture and interrogation using the drug Thorazine, and activists and journalists seeking to help out Matt, particularly in the wake

The line between homage and flat repetition can be thin. The Violent Heart, writer and director Kerem Sanga's third feature (premiering in competition at France's Deauville Film Festival), falls on the dull side of the dividing line.

Also Read: Why Disney (and Disney+) Needs the Streaming-First Release of 'Mulan' to SucceedThis “Mulan” is darker in tone and more mysterious than its predecessor; at times it’s more violent (it’s the first remake of an animated film to land a PG-13 rating), and at other times more contemplative.

Inspired by personal experience with a loved one, husband-and-wife screenwriting partners Inon and Natalie Shampanier take a straightforward and empathetic approach to their story of one woman's persecutory delusional disorder, or what's sometimes referred to in lay terms as paranoia.

nasty piece of work, as a pejorative. Hell, maybe I didn’t even mean it to be pejorative.Also Read: Maisie Williams Says 'Game of Thrones' Fame Led Her to Be Consumed by Social Media ScrutinyBased on the French comic book “Une nuit de pleine lune” and directed by Julius Berg, “The Owners” is tense, uneasy and brutal, escalating from the creepy to the ludicrous over the course of 92 deliberately unpleasant minutes.

In the year of coronavirus, the Venice Film Festival opened on a low-key note with a local Italian drama that, though finely crafted by director Daniele Luchetti, pushed no envelope and made no splash. It also included a new credit at the end, which we’re likely to see for some time to come: “cast medical exams,” followed by a doctor’s name.

Yorgos Lanthimos' dark absurdist comedy Dogtooth in 2009 ushered in the so-called Greek Weird Wave, which blossomed at least partly out of national chaos triggered by the country's financial crisis that same year. Christos Nikou, whose background includes working as an assistant director on that film, establishes himself as an exciting new voice in the movement with his assured feature debut, Apples.

Peter Debruge Chief Film Critic“Women Make Film.” The title of Irish film savant Mark Cousins’ sprawling 14-hour follow-up to “The Story of Film” serves both as a statement of fact and, if punctuated slightly differently, a call to action: “Women, Make Film!”Where the earlier documentary was a monumental survey of the medium, attempting to cram its entire history into a single project, Cousins allows this latest labor of love to be more discursive and idiosyncratic — “a new road movie through

The news of Robin Williams' 2014 death at his own hands was emotionally devastating. Not just because it was the tragic loss of a great talent, but also because it seemed unfathomable that such a brilliant entertainer, one who had brought so much joy to millions, could have felt such despair.

When the Japanese Imperial Army laid siege to an innocuous warehouse in 1937’s Battle of Shanghai, the skirmish ultimately became a flashpoint that galvanized a nation. China lost that battle but won the war, and the resistance of the Eight Hundred Heroes earned the legendary status it retains to this day.

Three years after the runaway success of Get Out, directors Gerard Bush and Christopher Renz have followed in Jordan Peele’s footsteps with another allegorical social thriller about the state of race relations in America. Much like the earlier film, Antebellum is a feature directorial debut that takes a big swing.

Also Read: Janelle Monae Horror Film 'Antebellum' Moves to On-Demand ReleaseFor the film’s lengthy opening stretch, Janelle Monáe plays a young slave named Eden in Louisiana during the Civil War (a time period that technically means the movie is post-antebellum, if you want to be picky).

any film is worth the risk inherent in venturing to a movie theater. I won’t presume to answer that question on anyone else’s behalf, but suffice to say that “New Mutants” isn’t exactly a groundbreaking cinematic experience.

Also Read: Why Armando Iannucci Didn't Go 'Mega-Futuristic' With New HBO Series 'Avenue 5'Just as Dickens’ original work was a blend of reality and fiction, Iannucci and co-writer Simon Blackwell play around with the idea of Copperfield the character as a writer who is himself writing his story as he goes along.

They saved the world by writing the perfect song, but it didn't take. (Maybe somebody actually listened to the song: "God gave rock & roll to you," really?) Imagining the return of the time-traveling Messrs.

Two male standouts from the riotous femme-forward Booksmart take another crack at high-school debauchery in Jeremy Garelick's The Binge, a Hulu teen comedy that seriously raises the stakes on the old "this one big party will make us legends!" routine: In a playful riff on the Purge movies, it imagines an America where there's only one night a year on which booze and drugs are even available —and they're legal for everyone above the age of 18.

smartest of heroes, of course, but they know what works for them: As Ted says at one point in this movie, “Maybe we should always not know what we’re doing!”But “Bill & Ted Face the Music” does know what it’s doing, which is to preserve the essence of the characters played by Alex Winter and Keanu Reeves even as it dumps a most unpleasant midlife crisis and an even more heinous threat to reality as we know on their still-shaggy heads.Written by original “Bill & Ted” creators Chris Matheson and

The risk with making a movie involving characters confined in a small space is that the audience can wind up feeling more claustrophobia than suspense. Such turns out to be the case with Brendan Walsh's directorial debut, about a couple trapped in a car during a blizzard.

For more than two decades now, Charlie Kaufman has been examining the tricky wiring of the human mind in an eclectic yet tightly cohesive body of screen work ranging across several lauded screenplays and three more he directed himself. His films are teasing puzzles marked by surreal detours and jarring rips in the fabric of reality.