While movie studios the world over scramble to create their own answers to the cultural/financial juggernaut of the Marvel Cinematic Universe, M. Night Shyamalan, the much-beloved, often-maligned creator of highly personal and unapologetically idiosyncratic thrillers, has managed it on his own, entirely. Shyamalan has finally completed his Eastrail 177 Trilogy, nineteen years in the making

The mother and daughter lead the fat sow to the boar’s pen. They pry open their mouths and pour bottles of rum down their throats to get them in the mood. As they begin to mate, the young woman lingers behind to watch. They need the sow to give birth, for soon the young woman’s fiancé and future family will arrive and they will need the meat for the celebration. Her name is Maria (María Mercedes Coroy) and she has been

I fear I might suffer from a certain cultural disconnect reviewing Halkawt Mustafa’s “El Clásico,” the winner of Tribeca’s 2016 award for Best Cinematography in an International Narrative Feature Film. The film hinges on a presumption that football, or “soccer” as it’s known here in the States, is a powerful enough force that the goodwill of one of its players can literally be enough to dissuade deeply-felt prejudices

The pregnant women in the marketplace avoid her foodstand, afraid [...]

I remember how many people were caught totally off guard by Ricky Gervais’s “The Invention of Lying” (2009), a film with a simple premise about a man who could lie in a world where nobody else could, when it suddenly became a vicious condemnation of religion. Gervais’s character, the liar, invented the concept of a “Man in the Sky” who would take good people to an afterlife if they followed “ten rules.”

As the credits rolled for Tom Tykwer’s “A Hologram for the King,” my friend and colleague Hubert Vigilla from over at Flixist.com leaned over and whispered, “This is the film Cameron Crowe has been trying to make for years.” “Yeah,” I replied. “If Samuel Beckett had written the first act.” I suspect many people might be put off from the film’s tonal whiplash. What begins as an Absurdist (in the theatrical sense) fever dream

“The first thing my commander heard was “uh oh.” Those [...]