I remember those nights of iodine streetlights and black-suited riot [...]

Ever notice that it’s almost always a bad sign when an R-rated animated movie brags about being an R-rated animated movie? The one exception might be SOUTH PARK: BIGGER, LONGER AND UNCUT (1999), but other than that the pickings are slim. I had this realization watching Chris Prynoski’s NERDLAND, a very graphic animated comedy filled to the brim with boobs, boners, and buttholes. The first feature film by animation house Titmouse

I think it was the moment when Gilbert Gottfried showed [...]

There were walkouts at my screening of Ben Wheatley’s HIGH [...]

Andrew Rossi’s new documentary THE FIRST MONDAY IN MAY is gorgeous, sumptuous. It’s also undercooked. The film follows the inception, creation, and opening gala for the Metropolitan Museum of Art’s 2015 fashion exhibition “China: Through the Looking Glass.” The exhibit itself was a massive celebration and rumination on the tenuous relationship between Western fashion and Chinese culture curated by the renowned

There are years when everyone knows which film will win. 2015 was not one of them, although there was some consensus among the major press that CAROL and MIA MADRE were the strongest films, cinematographically and stylistically and the Hou Hsiao-Hsien-directed THE ASSASSIN, the rare film by a filmmaker who's completely in control of his art, would not go home empty-handed. We expected the Coen Brothers-led jury would award them but not

Notwithstanding the lack of one film trailblazing the others as was the case in previous years (MOMMY or LA VIE D'ADELE, as recent examples, HOLY MOTORS a little bit earlier), 2015 has borne a tremendously-strong Cannes vintage. So yes, credit--much of it--goes to Thierry Frémaux and his team for having bravely assembled such an inventive slate of films by filmmakers who express themselves genuinely on the larger issues