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The dramatization of the true story of a young, unarmed, black man killed by the police is—remarkably—potent, not saccharine.
Alain Resnais presents his final film. Kenneth Branagh challenges a master.
Let’s begin by admitting that this is an easy target: The movie trailer is hardly (ever?) a paragon of nuance.
The decisive experience of warfare is not victory or defeat; it is being occupied. In the Fog is about occupation and the destruction of an understanding of one’s own history—and it's also a masterpiece.
Left-wing action films can never sustain the courage of their convictions.
How war movies got small
From The Dirty Dozen to Zero Dark Thirty: How war movies got small.
Good times to be a zombie in Hollywood.
It would be hard to name the most brutal example of naturalism since the style came in about a century ago, and the last place one would have looked for a contender is the Venice Film Festival. Yet the winner of the Golden Lion at last year’s festival is a contender for that distinction. The film is Pietà by the South Korean director Kim Ki-duk, and the opening credits—extraordinarily—tell us that this is his eighteenth work, as if to assure us that this is not a cheap shot by some fly-by-night sensationalist.
The Kings of Summer is a fresh delight, full of amiable, foolish people and the casual persistence of common lives. I can’t say the same for The Iceman.