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Kathryn Bigelow’s retelling of the 1967 Algiers Motel Incident is a nerve-shredder.
Landline reaches for the raunchy for wont of a better story.
Christopher Nolan’s new flick is built of meticulously interlocking storylines.
The latest in the classic sci-fi series earns all of its bombast.
The latest reboot succeeds by swapping Peter Parker’s angst with daffy levity.
The Cannes award-winning Civil War period piece is mere decoration.
Even with its on-the-nose metaphor, ‘After the Storm’ is beautifully made.
With a plot seemingly set up for moral payoff, the film refreshingly subverts those expectations.
An exercise in critical thinking, the film forces us to weigh our own prejudices against the screen.
Full of oblivious privileged characters and well-photographed food, the film is thoroughly off.
The latest in the Disney series is a showy summer rehash.
All the SIFF films with literary pedigrees your heart could ever desire.
The best of the upcoming enormous film fest.
Guy Ritchie’s take on Camelot is a joyless medieval sausage fest.
What could’ve been a stuffy biopic turns into a fittingly odd ode to its unconventional subject.
The Seventh Art Stand, a free film festival featuring Islamic works, will take over Seattle next month.
Ben Wheatley’s latest strips the action genre of all but its violent core.
The premise may be goofy, but the film ends up being much more than a quirky Kaiju flick.
This action flick with an unwanted gender-reassignment surgery at its center is lurid and clunky.
Growing up and throwing up in this occasionally uncanny film.