David Ehrlich

2 days ago | indiewire.com | David Ehrlich

A few days after Cannes wrapped up last month, my IndieWire colleague Ryan Lattanzio published an interview with filmmaker Nadav Lapid, whose furious new satire of modern Israel quietly premiered in the Directors’ Fortnight section at the very end of the festival. That was a curious and pronounced demotion for a rising auteur whose similarly blistering previous feature (2021’s “Ahed’s Knee”) had been selected for the main Competition, where it emerged from a stacked field to win the Jury Prize.

4 days ago | indiewire.com | David Ehrlich

Like anyone who’s played their way through the last 30 years (or more) of Hideo Kojima’s work, I’ve come to expect a certain degree of eccentricity from AAA gaming’s most distinctive auteur. Be that as it may, Kojima’s fetishistic cinephilia made “Death Stranding” — its cast partially composed of famous directors whose photorealistic likenesses are embodied by actors via performance capture — a uniquely strange experience for movie people like me.

4 days ago | flipboard.com | David Ehrlich

3 hours agoDeath Stranding 2: On The Beach: The Kotaku ReviewDeath Stranding 2: On The Beach assumes two things about anyone jumping into Hideo Kojima’s new cinematic post-apocalyptic open-world delivery …NowPS5 owners beware: Death Stranding 2 Quality Mode "is largely redundant on the Pro"Reviews for Death Stranding 2: On the Beach are in, and they're glowing, as you'd expect. But what about the more technical details?

1 week ago | indiewire.com | David Ehrlich

If all zombie movies are implicitly about the dilemma of living with death, few have ever arrived at a more practical, elegant, or damningly familiar solution than Danny Boyle’s “28 Days Later,” which reveals that the British mainland has been quarantined in order to contain the “Rage” virus that has turned most of the island’s population into fleet-footed monsters. How convenient it must have been for the rest of the world that hell on Earth could be so neatly compartmentalized.

1 week ago | indiewire.com | David Ehrlich

In a clever flex of corporate synergy, Apple promoted its first summer blockbuster with the release of a haptic trailer that imitates the purr of an F1 engine in the palms of your hands. The clip delivers such well-calibrated vibrations that watching it on an iPhone makes it seem like you’re microdosing 4DX right on the subway, or the toilet, or wherever it is you choose to enjoy the film industry’s latest breakthrough in vertical integration.