The perils of overdramatization and cliché are so commonplace in biopics that the mere mention of these dangers is almost a cliché in itself.
The breakthrough feature from 29-year-old director Damien Chazelle is as ambitious as its protagonist, a fledgling but immensely talented and driven jazz drummer.
The feature-length directorial debut of acclaimed actor William H. Macy is as pivotal to the Oklahoma arts scene as any work in decades.
Certain aspects of sʌn ɹaɪə’s music suggest impenetrability, even if that wasn’t her intention.
Given its conceptual brilliance, Gone Girl would have been difficult for any director to spoil. Yet no one was better suited to helm Gillian Flynn’s 2012 bestselling novel than David Fincher.
With her breakthrough documentary, Mitra Farahani paints her portrait with a virtuoso’s precision — not an easy task given the complexity of her subject.
On the heels of its new album, the Oklahoma garage-rock stalwarts unveiled a shiny new video to go along with its irresistibly catchy single.
Whether intentional or not, the title of Broncho’s first record, Can’t Get Past the Lips, plays like tongue-in-cheek premonition.
Some of the best films use ambiguity to their advantage, leaving an open-endedness that lingers upon their conclusion. Borgman certainly meets this criteria.
As forward-thinking as it is, Mike Cahill’s I Origins never embodies the intellectual moviegoing experience it wants to be.