It reveals itself as neither committed Nouvelle Vague subversion nor skillful homage, but rather a weak and uninspired imitation.
Ying Liang’s film is righteously and vigorously angry about injustices committed by the Chinese government.
Tamara Jenkins never musters the effort to expand the scope of her narrative, opting to make a film strikingly similar to The Savages.
It’s a quixotic and profound statement on the spatial and temporal dissonances that inform life in 21st-century China.
The Wild Pear Tree sees Nuri Bilge Ceylan in a kind of self-aware dialogue with himself about the methodologies of his work.
Hopefully the arguments against Capernaum from the more discerning jury members will be strong enough to keep Nadine Labaki’s film from taking the Palme d’Or.
It feels like Lee Chang-dong’s most reflexive comment on the dramatic possibilities of his favored narrative form.
The film registers an awareness for the narcotic qualities of cinema, particularly films that address matters of race.
Lars von Trier’s film is about the ways of responding to art without the boundaries of morality and reason.
Gaspar Noé’s relative narrative economy allows for Climax to feel like only a disappointing missed opportunity.
It’s clear that the film was conceived as an expansive homage and eulogy for the late Abbas Kiarostami.
It’s through exercising a certain kind of madness that the film connects even at its most disjointed.
Wang Bing’s colossal documentary is an incisive reappropriation of collectivist solidarity.
It’s the precise calibration of narrative minimalism and aesthetic elementalism that makes Cold War so striking.
Christophe Honoré’s playful pop instincts are on display throughout Sorry Angel in short, affecting bursts.
Everybody Knows rests a bit awkwardly between an emotionally complex melodrama and a shallow genre film.
Michel Hazanavicius co-opts Jean-Luc Godard’s personal life for cheap prestige-picture sentiment.
Stephen Loveridge’s film allows for the impression that it’s more foundational than it is conclusive.
The Last Jedi is largely content to further the themes and narrative strategies of J.J. Abrams’s predecessor.
The album generally rebalances the scales of U2’s ambitions, resulting in an aesthetically riskier sound.