Med Hondo’s film is a bravura spectacle of intellectual and cinematic daring.
Never has the green felt on poker tables suggested such a world unto itself.
The film is an triumph of effortless story execution, pinpoint humor, and acting masterclass.
Panico neither caters to newcomers to Argento’s work nor preaches to the converted.
The film is remarkable for largely leaving emotions unresolved and relationships feeling messy.
Style is an end in itself across Paul Vecchiali’s moody, labyrinthine The Strangler.
The film blends popular and academic conversations with great ease and precision.
The film understands how atrocity is perpetuated, fanning a maddening sense of injustice.
The film views its main character’s life as one of Christ-like endurance.
The title is accurate insofar as the film struggles to exert an emotional pull.
Dunye’s feature debut remains as sensual, funny, and incisive as the day it was released.
Marc Fitoussi’s film works best as a showcase for Laure Calamy’s seriocomic talents.
The film neither fully lampoons nor endorses standards for the art world’s political correctness.
Jamie Sisley’s film looks at its serious subject matter through a maudlin lens.
The film seems to confuse the mere act of deconstruction with grandiose thinking.
Gilliam’s visually inventive film gets a phenomenal 4K UHD upgrade from Criterion.
The film is an ambiguous portrait of numerous points in time connected by one man’s presence.
Its more phantasmagoric inclinations at least bear the coveted trait of attempted originality.
The film is unwilling to push its material past a certain threshold of unease or subversiveness.
The Worst Ones sets out to create a thin line between critique and replication.