Steven Soderbergh is perhaps our most adventurous filmmaker. He straddles the worlds of big-budget Hollywood and Independent cinema with ease and skill. We never know what kind of film he will do next and, good or bad, Soderbergh always surprises.

His latest film is “The Laundromat,” a look at the Panama Papers scandal based ever so loosely on Jake Bernstein’s book

Scorsese has directed many a cinematic winner. But, with the exception of 2016’s “Silence” (which I found to be brilliant on so many levels) it had been a while since the accolades of brilliance could be applied to this filmmaker.

Make no mistake, it is rare when he fumbles, and most of his films have found their way unto my Ten Best lists of their respective years. But over the last decade

Current events overtook documentary filmmaker Mark Landsman even as he was working hard on his film about the National Enquirer and its controversial parent company, AMI.

“We had already gotten our seed money together and were out filming when the Ronan Farrow stories broke in the New Yorker” about President Trump’s alleged connections to Enquirer

Daniel J. Jones worked tirelessly in a nondescript Washington, D.C., room for the better part of a decade, trying to connect the dots between the CIA’s detention and torture of terrorist suspects at black sites and the Bush White House. The Senate staffer, whose work was passionately backed by Senator Dianne Feinstein (D-Calif.), not only had to contend with members of the Senate who would rather his torture report not see light of day, but

The Arab Spring events of 2011 got filmmaker Mati Diop thinking: What if that search for a better life were told from the viewpoint of a teenage girl in Senegal who stayed behind as her sweetheart crossed the seas in search of new opportunity?

“We could say the film is following the ‘spring’ of a young woman in terms of the season from… dark to light, and it’s like an openness blooming,” said Diop.

Bruce Springsteen and Thom Zimny’s “Western Stars” is more than a concert film. Both structurally and musically, this unique cinema experience is an homage to the life and philosophies of the American Western. The film and album are based on the constant struggle for individualism while maintaining a connection to family and friends, the eternal struggle of the cowboy.

“Women. No matter how human they seem... they’re just shadows. But on the other hand, aren’t we all?”

From the edges of the bizarre and the extremely weird, “She’s Just A Shadow” is truly something else.

The matriarch of a Tokyo prostitution empire, married to a vicious and violent pimp, leads her own gang against