Matt Bettinelli-Olpin and Tyler Gillett’s horror comedy is sharp in more ways than one.
Matsunaga Daishi’s Egoist is a love duet full of intimate gestures.
In the end, the film reduces Winehouse’s life to little more than a sexist trope.
Mothers’ Instinct Review: A Hitchcockian Thriller That Wants for a Double Dose of Camp
The film awkwardly pitches itself between a somber drama and antic melodrama.
Challengers is an intoxicating showcase for the beauty and excitement of bodies in motion.
The filmmaker brothers discuss how Bigfoot straddles the human and the animal world.
Arcadian Review: A Subdued Nicolas Cage Anchors Strikingly Effective Creature Feature
The film rockets toward an action-packed finale filled with inventive touches and effects work.
Loach discusses the connection between form and content throughout his body of work.
The film captures the putrefaction of colonial rule with a morbid sense of humor.
LaRoy, Texas Review: John Magaro and Steve Zahan Enliven Coen Brothers Karaoke Night
Writer-director Shane Atkinson’s film wears its Coen brothers influence on its sleeve.
In Baloji’s film, one family attempts to reconcile two irreconcilable yet inextricable realities.
Bonello discusses The Beast and Coma, his understanding of time and the self, and more.
Dev Patel’s shaggy revenge flick treads familiar territory with captivating flair.
McKay discusses the connections between his two latest performances.
In The First Omen, Stevenson atomizes all the darkness and the light within ourselves.
The People’s Joker Review: Vera Drew Unleashes Underdog Spirit in Trans Coming-of-Age Story
Throughout, Drew lampoons comedy institutions as freely as she does superhero hegemony.
Housekeeping for Beginners Review: A Moving Portrait of Family Hindered by Formulaic Moves
There’s not that much of a feeling of precarity around where the film will eventually settle.