Whiplash director Damien Chazelle’s highly anticipated musical dances off its dust.
Articles by Sarah Kurchak
Tom Ford’s long-awaited second feature is undeniably stylish, yet insubstantially hollow.
Denis Villeneuve returns with a stellar sci-fi drama that elevates his talent to another level.
Jeff Nichols eschews the tired tropes of the historical drama, with admirable results.
Specifically, any follow-up after 1976’s The Omen that hit American theaters.
Christopher Guest’s latest isn’t his best work, but it’s a welcome return nonetheless.
The best quippy, feature-length trifle of a shootout you’ll ever see.
Werner Herzog’s gorgeous eco-thriller may or may not be teasing his fans.
Amma Asante’s period epic uses the trappings of the genre to comment on its legacy.
Walter Hill’s gender reassignment thriller is as uninteresting as it is tasteless.
Asghar Farhadi’s latest follows one thread too many, but its unspoken tensions linger.
Documentarian Roger Ross Williams and Sarah Kurchak discuss film’s ability to transform lives.