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.
By exercising a certain madness, Jean-Luc Godard’s 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.
Utopia represents an earnest desire to reconcile a yearning for future happiness with the pain of the past.
We talked with Ai about his new film’s political and aesthetic virtues.
The narrative of writer-director Chloé Zhao’s The Rider is a fairly familiar one of daredevilry and recovery.
The film is deeply concerned with the salvation found in the meditative power of the arts.
Ismael’s Ghosts simultaneously collapses and expands Arnaud Desplechin’s entire body of work.
Taylor Swift’s new video is an expression of melodramatic outrage tinged with the macabre.
Lust for Life is a sprawling contemplation of Del Rey’s aesthetic and its various dissonances.
This empty exercise in imitative long-take aestheticism fills its frames with endless repetitions on a visual gag.
Cannes isn’t the Oscars, but there’s still a certain formula that often defines the recipients of the Palme d’Or.