Matt Bettinelli-Olpin and Tyler Gillett’s horror comedy is sharp in more ways than one.
In the instances where it’s not going hard, Dicks is a surprisingly flaccid affair.
The film refuses to vary from its quickly established tone of gentle, plaintive lyricism.
Green discusses why she felt her new film always needed to be in the present tense.
Throughout Maestro, Bradley Cooper mostly relegates Bernstein’s art to the sidelines.
This flashy legal melodrama is too flabby to deliver the walloping blow that it needs.
Poor Things Review: Emma Stone Anchors Yorgos Lanthimos’s Vision of a World of Contradictions
The film again proves that Lanthimos is a skilled director of blunt strangeness and surreality.
Totally Killer Review: Kiernan Shipka Slays in Teen-Slasher Riff on Back to the Future
Totally Killer has a lot of fun poking at the tricks and tropes of slasher movies.
Richard Linklater’s film sees performance as a fundamental part of our lives.
David Gordon Green’s newest attempt to raise franchise hell results in a disjointed mess.
Priscilla’s expanded canvas often obscures its emotional subtleties.
The film is a blistering laceration of the contradictions and hypocrisies of European racism.
Paul B. Preciado’s documentary quite aptly languishes in an undefinable interstitial space.
A desperate yearning for belonging is central to Boetticher’s subtle and serpentine westerns.
The wry humor of the film masks profoundly complex and painful undercurrents of emotion.
In its own way, this is as suitable a final work as a culminating magnum opus.
Foe fails to adequately redress or rework played-out tropes within its high-concept world.
La Práctica Review: Martín Rejtman’s Droll Portrait of the Follies of an Ordered World
Rejtman’s serio-comic fifth feature reminds us of how absurd and beautiful a mortal life can be.
The Boy and the Heron Review: An Audacious Fable About Searching for Truth in the Unreal
Miyazaki’s film suggests that the Earth will keep spinning long after the old masters have left us.
Polish Film Festival 2023: Kos, Next to Nothing, The Peasants, Imago, Anxiety, & More
Many of the ghosts and whispers of the past were on display at the festival’s 48th edition.
The Pigeon Tunnel Review: Errol Morris and John le Carré Take on a World of Contradictions
The sense of getting nowhere proves crucial to grasping le Carré in all his impish glory.