Léonor Serraille’s Mother and Son is a lovely film about feminine strength that also refuses to glorify motherhood.
Cleansed of all risk and personality, the film subsides, as though with a sigh, into the reheated sauce of mediocrity.
William Brent Bell’s film proves that not every horror concept has the potential to be franchised.
Lodge Kerrigan discusses Grasshopper Film’s restoration of Keane, his nontraditional approach to rehearsal, and more.
Alex Pritz’s documentary provides an affecting look at Indigenous lives at the frontline of deforestation in the Amazon.
Day Shift’s first half is an unexpectedly focused, consistent pleasure, while the second sags under the weight of recycled set pieces.
Scott Mann’s film succeeds by simply committing to and steadily ratcheting up the ludicrous awesomeness of its premise.
Ron Howard’s Thirteen Lives gets lost in a story that’s already been told.
Patton Oswalt discusses his working relationship with Rachel Dratch, the timeless quality of movies, and more.
Writer-director Kiro Rosso’s sociological film suggests a mosaic resolving out of innumerable shards.
The film is at its most volcanic when it promises to blossom into a study of a generation’s financial difficulties.
Prey proves to be an apropos title, as the film is cowed by John McTiernan’s original Predator.
Bullet Train pulls off the notable feat of making human beings out of cartoonishly violent psychopaths.
Helina Reijn’s film is as hilarious as it is pointed, with its dialogue distinctly attuned to the Gen Z mindset.
For both better and worse, I Love My Dad feels less like a film than an exorcism.
Clio Barnard discusses her unique workshopping process, which directly involves the real-life analogues of her characters.
Writer-director Max Walker-Silverman’s film plays like a tamped-down version of Chloé Zhao’s Nomadland.
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