Indrapramit Das

Allowing novelist Cormac McCarthy to follow up as perfect an adaptation of his literary nihilism as the Coen brothers’ masterpiece No Country For Old Men (2007) by trying his own

The Oxbow Cure (2013), a low-budget independent feature funded by Telefilm Canada, a Toronto Arts Council grant, and Kickstarter, is nothing if not a triumph of making the best of

Israeli director Ari Folman’s follow-up to his critically acclaimed autobiographical war movie Waltz with Bashir (2008) isn’t much like that film, nor is it likely to resemble anything else released

  Sam Fleischner’s Stand Clear of the Closing Doors(2013) is a hypnotic, atmospheric exploration of the New York City underground through the eyes of an autistic teenager. It’s also a

Like his Spielberg-homage Super 8 (2011), J.J. Abrams’ Star Trek Into Darkness ultimately proves a lesser imitation of its source material. This time the source material is narrowed down from

Shane Carruth’s Upstream Color begins with the impressionistic observation of a fictional drug sub-culture involving parasites (or symbiotes) that, either through consumption or infection, induce a kind of telepathic empathy

While Pablo Larraín’s No is based on the very real, historic televised ad campaign to get Chileans to vote dictator Augusto Pinochet out of power in the national plebiscite of

Spanish director Jaume Balagueró’s and his frequent collaborator Paco Plaza are best known for the [Rec] franchise, the first two entries of which remain exemplary found-footage horror. Balagueró’s latest film,

Leos Carax’s Holy Motors is a paean to cinema itself, an elegiac yet energetic drive across genres to a terminal destination that hints that the oft-heralded ‘death of film’ at

From the first ethnic twangs of the sitar on its score, one feels comfortably served by Deepa Mehta’s adaptation of Salman Rushdie’s landmark 1980 novel, the defiantly un-adaptable Midnight’s Children.

Abbas Kiarostami’s Like Someone In Love (2012) isn’t quite a “copy” of his 2010 masterpiece Certified Copy transposed to Tokyo—more like a warped reflection, or, to skew more sinister, a

Veteran animator Hiroyuki Okiura’s second directorial effort, A Letter to Momo (2011), will draw inevitable comparisons to Hayao Miyazaki’s films. Like Miyazaki’s (and Studio Ghibli’s) films often do, Okiura’s film