Virgil Vernier’s latest film showcases his signature blend of documentary realism and fiction, exploring themes of alienation and disconnection within the opulent yet isolating landscape of Monaco.
In the article series Sound and Vision we take a look at music videos from notable directors. This week: two music videos Tim Burton made for The Killers. Tim Burton wears his influences on his sleeve. Beetlejuice Beetlejuice, which premieres this week at the Venice Film Festival, is the first time since Batman Returns that Tim Burton is making a sequel to his own movie. And this is the first time that an original concept by Burton is sequelized by himself. Recently, Burton has been playing the franchise-game, with films like Dumbo, Alice in Wonderland and Miss Peregrine’s Home for Peculiar Children. But even before that films like Mars Attacks, Ed Wood and Sleepy Hollow aped the styles of predecessors and inspirations from Burton’s childhood….
Iva Radivojević crafts a poignant exploration of memory, identity, and displacement set against the backdrop of 1990s Yugoslavia, weaving a coming-of-age drama that intertwines personal and historical upheaval through the eyes of an 11-year-old girl.
Ramon Zürcher plunges into the dark undercurrents of family life, exposing the simmering resentments and hidden cruelties that lie just beneath the surface of a seemingly peaceful home.
Ry Levey’s (Out in the Ring) new documentary, Boutique, had its world premiere at Pigeon Shrine Frightfest in London yesterday. We are pleased to be the first to share with you the official trailer for the film. We’ve known for a while that mainstream studios are considering or are already actively phasing out physical media, trying to force you into subscribing to every streaming platform out there in hopes that you catch your favorite films in their loan windows at the same time that the mood hits you right. It’s even harder to find all of the obscure, rare or notorious titles that often tickle the fancies of genre film lovers. Fortunately, the rise of boutique Blu-ray restorers and distributors like Severin Films,…
Oh my gods, I need The Furious injected into my eyeballs, right, freaking now! Already one of my most anticipated films of 2025 the Pan-Asian action film, directed by Kenji Tanigaki and produced by the legendary Bill Kong, recently wrapped up production in Thailand. Two first look photos went out today in the trades this morning and we can share them with you now. (The Furious) follows a simple tradesman (portrayed by mainland Chinese star Xie Miao) who fights his way through a complex web of criminals and evil agents in a frantic attempt to win back his kidnapped daughter by any means necessary. There were two seperate articles in Variety today, one a set visit, the other the official announcement. I love…
Natalie Emmanuel, Omar Sy, and Sam Worthington star in John Woo’s remake (in name only). Now streaming on Peacock TV.
The Canadian filmmaker talks embracing DIY approach, refusing the Hollywood road, three new projects and another kind of cinephilia.
The ritual of Catholic confession has never felt quite right to me; to each their own, but the idea that you can simply say some words that apparently mean you repent for some sins and that gets you into your idea of heaven, seems a little too convenient for those who commit acts that render apologies almost meaningless. I’ve no doubt some people do regret terrible things they’ve done, but I expect that a healthy number do not, and do not care who they hurt or how often, since it makes no different to their current existence or perceived future. This might be a little too philosophical a beginning, but Blink Twice is more than just a thriller with a message. It’s beautiful and sardonic,…
After spending the better part of two decades parked in development purgatory, the long-mooted remake, reboot, and/or reimagining of James O’Barr’s comic-book series/comic strip, The Crow, makes a belated, somewhat anticipated appearance in the nation’s multiplexes just as the summer season ends, schools reopen for another year, and another doom-laden presidential election (one of the most important of our lifetimes or so we’ve been informed) fast approaches. In short, it’s a perfect time of the year for a new, grim-dark adaptation of a 35-year-old goth-punk classic. That’s assuming, of course, that said adaptation justifies its existence beyond the exploitation of preexisting IP (intellectual property). Unfortunately, the Rupert Sanders-directed remix-as-reimagining The Crow doesn’t. Lugubriously, flaccidly directed, overlong and overindulgent, bizarrely waiting until the 40-minute-mark to introduce…