It often excels at elevating linear, historically conscious plotting with more abstract symbolism and ellipsis.
The film leaves the lasting impression of a story that takes place in its own elitist and hermetically sealed world.
J.D. Dillard’s film never shows much interest in exploring how blackness can inform its genre’s tropes.
It’s neatly organized around not only the changing of the seasons, but a Disney-branded circle-of-life ethos.
The flawless A/V transfer of Disney’s Blu-ray fully translates the film's aesthetic beauty.
Lady Macbeth eventually turns into a meaningless, mean-spirited, and proudly irredeemable non-character study.
Yance Ford’s film builds into an emotionally, intellectually, and aesthetically complex work of essay and memoir.
Beach Rats is most compelling when it puts a self-aware focus on Harris Dickinson’s sculpted male figure.
This luminous and informative Blu-ray release should ensure at least some degree of collective reconsideration in the years to come.
Rogue One at least creates its own character dynamics and plot routes rather than coasts on existing ones.
The films at this year’s festival offered plenty examples of legacies lived up to and not—neglected and obsessed over.
Its searching images counterpoint the hyper-articulate methodology of its characters’ sense of uncertainty.
The film finds little grooves of humanity to explore in its characters and milieu in between the expected plot beats.
Yourself and Yours’s commitment to ambiguity is crucial to its success.
Ken Loach’s film is pock-marked by conservative dramatic conventions and broad political gestures.
What tends to right Moonlight, even when Jenkins’s style drifts into indulgence, is the strength of its actors.
Diamonds and Pearls was an important sign that Prince was willing to embrace contemporary sounds to stay visible.
Derek Cianfrance’s film is a beautifully sustained study in adult themes of emotional crisis.
The film emphasizes its heroes’ inter-personal dynamics, and functions best as an extended team-building exercise.
Brady Corbet reaches for a dreary self-importance akin to Michael Haneke’s The White Ribbon.