The festival provides a matchless opportunity to take the pulse of Poland’s present-day culture.
The film is a fable about the merits of selling out versus those of staying true to oneself.
Kirill Serebrennikov’s blackly comedic fantasia paints a none-too-rosy picture of Russia.
Throughout, director John Hyams brings kinetic heat to Sick’s slasher trappings.
Living has the feel of a film afraid to fully step out of its predecessor’s giant shadow.
All the Beauty and the Bloodshed shows the intrepid Laura Poitras pushing into new emotional terrain.
The film sees Catherine as a feminist crusader who undermines the sexist traditions of her time.
Few films feel as excitingly jacked in to our current social climate as How to Blow Up a Pipeline.
For a while, the performances are nuanced enough to distract from the film’s implausibilities.
The film has the swing-for-the-fences ambition that could have made it a compelling folly.
The Woman King doesn’t exactly offer anything subversive when it comes to its view of warfare.
Wendell & Wild is easily legible as a retread of Henry Selick’s past work.
Martin McDonagh’s film is a mordantly funny dark fable about men’s inability to work together for the betterment of society.
Hugh Jackman imbues The Son with a tragic power that makes even Florian Zeller’s most manipulative excesses easier to tolerate.
Dominik’s adaptation of Joyce Carol Oates’s novel paints Monroe as nothing more than a bruised plaything.
The film mostly struggles to dramatize how fundamentally unknowable its main characters are.
Pearl is an empty exercise in style masquerading as a character study.