The studied ambiguity of the film doesn’t keep it from often achieving the suspense of an accomplished erotic thriller.
Visual, embodied forms of communication, including the rhythms of the moving image, dominate this affecting and deceptively modest film.
Despite its inability to weave its threads into a harrowing neorealist knot, Alcarràs crafts a detailed portrait of an endangered lifestyle.
Leonora Addio wrestles with memory and history through a deeply personal, if at times indulgent, lens.
Unrest brandishes its historical-materialist bona fides through this de-emphasis of psychology in favor of social dialectics.
Strawberry Mansion playfully and delightfully draws parallels between the creative agency of dreams and the waking creativity of filmmaking.
The film extends into impactful hyperbole the tensions inherent in being subjects of and subjects to incessant surveillance.
The material realities of being a woman in Chad are expressed with profound sympathy in Mahamat-Saleh Haroun’s film.
Criterion’s release of Time affirms its place among the essential docs of its era.
It’s at a certain point toward the finale that this Scream becomes almost as drearily repetitious as the reboot culture that it skewers.
The film can be mesmerizing, but its philosophizing lapses into clichés about the distractions and decadence of modern society.
The film misplaces the root of our current existential dilemma, then covers it with tepid droll comedy and clunky melodrama.
The film’s approach is completely subsumed by the importance of the Mayor Pete persona as the means and ends of the candidacy.
Matthias Schweighöfer never imbues the act of turning the dial on a combination lock with tension, intrigue, or variation.
Juho Kuosmanen’s film interestingly thrives off of an ironic juxtaposition of character and environment.
Merciless but affecting, Vortex suggests that one respite from the loneliness of life lived in the shadow of death is the realm of dreams.
The film is serious in its reflection on whether there’s a spirit world that persists beneath the façades of urban modernity.
The film may be the prime example of how to restore fun, significance, and even a little bit of sex to a well-worn genre.
Blue Bayou is a timely but tediously overwrought drama about a nakedly racist part of America’s immigration crisis.
With his first time since The Florida Project, Sean Baker reveals another slice of our American capitalist underbelly.