The story’s boilerplate setup gets a noticeable lift thanks to Darren Aronofsky’s style and focus.
The film sees its body horror as just another wrinkle in the complexities of loving someone else.
After its very promising opening act, the film gets silly fast.
This new I Know What You Did Last Summer is truly a copy of a copy.
Aster discusses what his pandemic-era dark comedy has to say to audiences in 2025.
Not for nothing does Eddington arrive with the tagline “Hindsight is 2020.”
The film’s conception of the future, perceptively, looks back to humankind’s primeval past.
Swegal’s feature-length directorial debut is like staring into a national wound.
The film is uncannily expressive, intensely violent, and perversely funny.
The film is a human drama that skirts topicality to ruminate on the nature of truth itself.
The film wrings tension and excitement out of the simple exchange of sensitive information.
The film has a white-hot nerve of pain running inside it that burns right through the screen.
Skinner and Baram discuss coming out, sex on campus, and their show’s bratty soundtrack.
Everything here is too clean and fastidious—the opposite of lived in.
Garland and Mendoza adhering to a Dogme 95-esque code of purity while making the film.
The formal experimentation of the film is built to pose questions, not answer them.
Holland doesn’t seem to want us to know what to make of it.
The film knows that when the stakes are sky high, the emotions need to be firmly grounded.
The film suggests Rules of the Game cross-bred with a Spielberg creature feature.
Novocaine takes action-movie invulnerability to brutal comic extremes.