Antoine Bourges’s latest is his most quietly impactful effort to date.
Memory Review: Michel Franco’s Tricky Character Study About Damaged Souls Finding Salvation
The film reveals itself as a prototypical yet surprisingly tender love story.
Alexander Payne’s film is subtly attuned to the way that class constricts people’s lives.
Korine has crafted an experience that’s worth tripping out to, cotton mouth be damned.
Throughout, Cage flexes his singular acting muscles in increasingly hilarious directions.
Anatomy of a Fall Review: A Riveting Treatise on a Relationship Facing Public Scrutiny
Justine Triet’s film has more on its mind than the simple question of innocence or guilt.
The film only pretends to rail against the scourge of unchecked capitalism.
The film embodies the alienating angst of millennial life in all its nakedly neurotic glory.
Love Again is nothing but a chintzy promotional tool for Celine Dion.
Paradise City Review: John Travolta Comes to Play in Chuck Russell’s Inept Schlockfest
If only everyone else had followed Travolta’s lead, then the film might have lived up to its title.
David Bruckner’s Hellraiser is a toothlessly retrograde enterprise.
Sick Review: Kevin Williamson’s Return to the Slasher Is Shot Through with Covid Anxities
Throughout, director John Hyams brings kinetic heat to Sick’s slasher trappings.
Few films feel as excitingly jacked in to our current social climate as How to Blow Up a Pipeline.
The Good Nurse Review: Tobias Lindholm’s True-Crime Goes Heavy on Manufactured Suspense
For a while, the performances are nuanced enough to distract from the film’s implausibilities.
Wendell & Wild is easily legible as a retread of Henry Selick’s past work.
Martin McDonagh’s film is a mordantly funny dark fable about men’s inability to work together for the betterment of society.
With The Whale, Aronofsky brings a hollow sense of dignity to his schematic brand of cinematic misery porn.
Weird accordingly—or is it accordion-gly?—takes everything to new heights of glorious ridiculousness.
The film is too invested in treacly optimism for its character dynamics to feel sketched out beyond their basic narrative function.
The film compellingly positions misogyny as an unending inherited nightmare, stretching far beyond the actions of one single man.