Writer-director Andrew Haigh’s Lean on Pete exudes a quiet but self-evident sense of struggle.
RaMell Ross’s documentary is more powerful when its imagery more obliquely subverts historical totems.
Black Mother finds director Khalik Allah doubling down on his established aesthetic to bold, hypnotic ends.
The film sets an expansive discussion of the fraught status of French republicanism around a summer writing class.
Khalik Allah’s Black Mother is an aesthetic experience that’s at once raw, exalted, and singular.
The most liberating thing about Fifty Shades Freed is that it doesn’t even try to make sense of Christian Grey.
The film is superficial when it means to be elliptical and regressive in its attempts to promote tolerance.
I, Tonya’s attempts to implicate viewers is its broken shoelace, too pat and glib to be convincing.
Steven Soderbergh’s bracingly playful return to cinema is accorded a stunning transfer and little else, though the film itself is more than enough.
It’s hard to come away from the film feeling anything but disdain and a twinge of embarrassment toward Gay Talese.
Lionsgate outfits one of the most original American crime films in ages with a gorgeously gnarly transfer.
It hits concurrent notes of peril and bliss, but even at a scant 67 minutes it can seem a bit aimless and scattershot.
The film wants to treat Jeffrey Dahmer like a character, but it invariably frames him like a specimen.
It’s incisive in its condemnation of the oppression innate in the social structure of Brooklyn’s Hasidic communities.
A uniquely American comedy, Greta Gerwig’s Lady Bird is testy, humane, and firmly rooted in its time and place.
Throughout the film, we come to understand the camera’s distance from its subjects as an act of respect.
How strange and apt that the year’s most sensorially and ideologically dense film is a comedy of microaggressions.
Last Flag Flying is colored by how time reshapes our sense of self, embracing some memories while occluding others.
The film is a riot of religious symbolism, of-the-moment socio-political valences, and references that attempts to unite themes from nearly all of Darren Aronofsky’s work.