Andrew Haigh’s film has an urgency for epic things to happen to its main character in the most literal sense.
It begins as a clever pseudo-mumblecore provocation only to quickly turn into indefensible nonsense.
Michael Roberts’s film is an unabashed exercise in deifying its subject matter with superlatives and hyperbole.
The film is unfortunately committed to keeping its subjects, especially Headfort’s students, at arm’s length.
There’s a Tarkovskian layer of social despair in the web of corruption joining the child and the adult.
Joachim Lafosse’s film is at its strongest when it lets its actors’ faces and bodies do the talking.
Writer-director Lina Rodriguez’s film is about smallness, of a sliver of Colombian life, or of life tout court.
The film eventually replaces the captivating smallness of everyday life with an inconsequential drama.
If not for its performances, the film would belong in the category of Hallmark Channel tearjerkers.
Bette Gordon’s film proffers the East Coast couple as an inevitably miserable institution without really meaning to.
The film’s pornographic premise turns into an all-out pornographic stunt from the very beginning.
The film is essentially an exercise in forcing a female genius back into her proper place of dependence on men.
Writer-director Christophe Honoré tries to domesticate, if not neuter, the strangeness of Ovid’s classic tales.
Its most memorable moments are precisely the ones where the situations feel scripted by the retreat, not by the filmmakers.
Confrontational and often corrosively funny, Elle gets a suitably subdued transfer from Sony Home Entertainment.
Contemporary tropes of material luxury and ancient rituals coexist throughout Yuri Ancarani’s documentary.
4 Days in France is about much more than just the digital sexual compulsions that afflict so many gays.
Ritesh Batra’s film is a tale of white nostalgia that should have found its footing on dramatic grounds.
When compared to the high-stakes dramas at the center of Paris Is Burning, Kiki feels rather tame.
Like most great essay films, it’s driven by a stream-of-conscious relationship between word and image.