by Mike D’Angelo, Genevieve Koski, Noel Murray, Keith Phipps, Nathan Rabin, Tasha Robinson, Scott Tobias
A strong first half of the year, capped by the release of Richard Linklater’s stunning “12-year project,” wound up dominating late-year Oscar hopefuls on The Dissolve’s collective Top 20 list for 2014.
With his acclaimed 1995 film Safe making its debut on Criterion Blu-ray, director Todd Haynes reflects on the way its meaning has changed between then and now, and the “eureka” moment that led to the casting of Julianne Moore.
How does Martin Scorsese’s controversial story of high finance and low morals look now that the shouting has stopped?
The year’s best film performances from men include a series of familiar faces venturing into startlingly unfamiliar territory, and a few unfamiliar faces that should become familiar after this year.
Three of the films The Dissolve loved in 2014 deal with people chasing fame, and not failing—but not emerging unscathed, either.
The year’s best film performances from women span a range from quiet desperation to icy alienation, but they all have an urgency and an intensity in common.
Some undeserving movies make hundreds of millions of dollars. Some great movies make several zeroes less. Here, we do our part to correct that injustice by celebrating the year’s most elusive gems.
2014 produced an abundance of cinematic riches. It also produced an abundance of fetid garbage. We plug our nose and revisit the worst of the worst.
The film’s director and star discuss the film’s long journey to the screen, capturing the humanity of the iconic Martin Luther King, and the connection between the events it portrays and the vicious cycle playing out in the present day.
Ahead of the première of Big Eyes, Tim Burton’s latest feature, The Dissolve takes an exhaustive look at the director’s often frustrating, but always interesting, career.
Twice a year, The Dissolve circulates a checklist of movies staff members should see for best-of-the-year consideration. We published one checklist for the first seven months of 2014 back in July; now we take it all the way to the end of the year.
As prestige season kicks in, we’re moving away from grunty, glowery, single-use action-movie characters, and toward more vulnerable and soulful ones. But some of winter’s Strong Female Characters are much more compelling than the summer batch.
Introduced 30 years ago, thanks to controversy surrounding Gremlins and Indiana Jones And The Temple Of Doom, the PG-13 rating was meant as a stopping point between PG- and R-rated material. Instead, it’s become the default rating, effecting jarring changes in the process.
There are degrees to which Disney, George Lucas, and fans can claim ownership over Star Wars, but only one voice is truly dominant.
Joe Dante’s 1984 horror-comedy owes a debt to It’s A Wonderful Life, which it openly acknowledges on its way to mocking and dissecting the film.
Two Dissolve writers talk about the grim, nostalgic Christmas horror of Joe Dante’s Gremlins, which pits Dante’s Looney Tunes humor against the sentiment of Chris Columbus’ script.
The last month of 2014 brings a tale of survival starring Reese Witherspoon, a Thomas Pynchon adaptation from Paul Thomas Anderson, hobbits, and more.
Australian director Jennifer Kent just made the year’s scariest movie. And she didn’t have to look far for inspiration.
Miyazaki’s masterpiece is part of a long tradition of films that follow kids down rabbit holes. (Only some of them literally.)
The late-in-the-year blockbuster surprise confirmed the Disney machine was back and running at full power. One year later, what can we learn from its unexpected mega-success?