I don’t know what it all means, but I can’t wait to see it on the big screen.
The second outing for Marvel’s outer space misfits sounds like it’ll be just as much fun as the first.
Coming soon: Cyberpunk anime, Nazi hunters, Earth’s Sorcerer Supreme, Roman gladiators, 007, Frank Drebin, and more.
Makoto Shinkai’s latest is a thoughtful, winsome, and visually gorgeous film.
Still Walking explores family drama with grace, and never once slips into Hollywood melodrama.
Kim Ji-woon’s “kimchi western” is all about style as substance.
Summer Wars adroitly balances sci-fi geekiness, technology-focused social commentary, and family melodrama.
I love the idea of a Takashi Miike samurai film, but 13 Assassins just doesn’t live up to its promise.
Yes, there’s lots of ping pong, but also a surprisingly nuanced exploration of the thin line between friendship and rivalry.
I’ve yet to see a Wong film that didn’t impress me on some level, but I’ll admit it was difficult to make it through Ashes of Time.
Mamoru Oshii’s films are usually more satisfying and challenging than this.
The first Evangelion walks a tricky line between appealing to otaku without feeling like a shameless cash-grab.
A simply brilliant adaptation of one of the most classic horror stories of all time.
What kind of “bad-ness” are we really talking about here?
Vexille’s CGI strives for powerful sci-fi storytelling but frequently lands in the uncanny valley.
Part semi-autobiography, part self-exorcism, part post-modern narrative, and a career rejuvenation for Van Damme.
Deeply heartfelt, with captivating visuals and indelible images, Ink handily sidesteps its flaws.
These films typify “the sadness of things.”
Morisset’s extreme, even experimental style is the perfect visual counterpart for Sigur Rós’ beautiful sonic onslaught.