At its best, Alfonso Pineda Ulloa’s film gleefully embodies the grungy spirit of classic exploitation cinema.
Throughout, the quick-hit jokes from the show’s rich cast of oddballs serves to suggest a vibrant world outside of the Belchers.
With stinging precision, Hayakawa Chie reveals a culture that seems almost mobilized to destroy its own soul.
Cristian Mungiu’s film reveals an unforgiving cynicism about the world as its social-realist strains become increasingly apparent.
Unlike One Cut of the Dead, Hazanavicius’s similar ode to low-budget resourcefulness often rings false.
Emergency is uneven, but it’s grounded by dynamic performances and a vivid portrayal of the minutiae of friendship.
Men finds Garland turning from science fiction to folk horror and producing a film that exemplifies his best and worst tendencies.
Georgis Grigorakis’s film may not revolutionize the western genre by transposing it to an unlikely setting, but it doesn’t dilute it either.
The film's aesthetic approach is purposeful, echoing the us-or-them sentiment held by both groups aiming guns at the other.
At its best, A New Era quietly links its themes of entitlement and survival.
This new Firestarter is an almost anachronistically short production whose elements just sit there like mishandled kindling.
With his Deception, Desplechin renders one of a great author’s slighter works titanic by comparison.
The film fully surrenders to the grandiose fun that’s marked the best of Cruise’s recent star vehicles.
Distractingly indebted to No Country for Old Men, the film’s wild tonal swings mostly leave it feeling impossibly disjointed.
The film is initially distinguished by its poetic understatement, only for it to eventually succumb to staleness.
The film fiercely homes in at the moral perversity of an industry at a particular intersection of capitalism, patriarchy, and digital-age spectacle.
Dennis Lim shares with Hong Sang-soo an exacting imagination that’s both erudite and tactile.
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