The film’s depiction of the fear and uncertainty of motherhood gives in to monotony.
My Animal is a beguilingly stylish and sensuous feature-length directorial debut.
The film has a free-floating, nearly intangible sense of unease that greatly serves it.
Cronenberg is so fixated on freaking us out that he can sometimes neglect to do much else.
The film is an insightful examination of a character type familiar to indie cinema.
The film deals forthrightly with the question of purpose and whether it can be found in a career.
Hansen-Løve discusses her approach to autofiction, her characters’ vocations, and more.
Cat Person only succeeds when it stays in a space of mystery and unknowing.
As confident as writer-director Chloe Domont is with high-finance gamesmanship, she’s sharper as a dramatist of premarital decay among millennials.
The film reemphasizes the moral weight and emotional anguish at the heart of Frankenstein.
Rachel Lambert’s is an imperfect but affecting portrait of social isolation.
Roman Liubyi’s documentary is nothing if not self-consciously obsessed with its own making.
The film could aim with a bit more precision at the price of its characters’ evident comfort.
When It Melts is a film that lives and dies on the games that it plays with audiences.
The film has a rather perfunctory feel, as if it were unwilling to go all in on its ludicrous concept.
At its core, 20 Days in Mariupol is a testament to the citizens of Mariupol.
The Longest Goodbye keeps cynicism at bay through the breadth of its curiosity.