Kirill Serebrennikov’s blackly comedic fantasia paints a none-too-rosy picture of Russia.
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.
In the film, the power of the movies is an afterthought to more romantic and socially oriented concerns.
The African Desperate is an internet-savvy film that’s obviously been made for streaming.
The climax has a certain primally cathartic power, but it doesn’t quite dispel the air of self-satisfaction that envelops the script.
With The Whale, Aronofsky brings a hollow sense of dignity to his schematic brand of cinematic misery porn.
No Bears spends less time finding aesthetic articulations of its themes than building out a convoluted plot to support them.