With its precisely lit interiors, sweeping landscapes, and penetrating close-ups, this is a film in which every pixel truly matters.
The film questions the fixed nature of human behavior in a world whose borders are constantly shifting.
Brett Story’s documentary represents a city ground down by inequality and division.
If only the film made more of the curious tension between Timothée Chalamet’s Henry and Robert Pattinson’s dauphin.
The film confirms that the ruthless knack of the wealthy and powerful to remain so is a universal impulse.
Alejandro Landes’s film depicts amorality with minimal curiosity and a surplus of numbing stylistic verve.
Corneliu Porumboiu’s film is very much a genre exercise, and a particularly Soderberghian one at that.
Mati Diop’s film is work of disparate influences and even genres that pulses on its own oblique wavelength.
What’s most stirring about Céline Sciamma’s film is the lack of artifice in Héloïse and Marianne’s feelings for one another.
The film is an intimate portrait of a nation terminally anxious about who will see fit to rule it next.
Much like its subject, Avi Belkin’s documentary knows how to start an argument.
The film elides politics in order to earnestly consider whether love is necessarily an act of possession.
The film is firmly grounded in the lives of low-wage workers looking for nothing more than a reliable paycheck.
Rather than a slice-of-life documentary, The Raft becomes a rather moving political parable.
Even after the film (quite entertainingly) explains itself, it never feels like more than a howl of frustration and cynicism.
The documentary shrewdly illustrates how media savvy can turn a fledgling protest into an international cause célèbre.
The portrait it paints of its Marines is redolent of the twitchy frustration caused by a long stint in a sparse landscape with a hazy mission.
The film’s gritty, mundane agonies come to feel like a series of moral tests with genuinely unpredictable outcomes.
The documentary is uniquely attuned to the fickle whims of history, politics, and biographical circumstance.
Sandi Tan’s view of what the original Shirkers represented, and what her new film should be, is surprisingly expansive.