Vincenzo Natali’s film divests itself of stakes in the name of total meaninglessness.
Olivier Meyrou’s ironically titled documentary weaves a tightly constructed story about success, power, and mortality.
The film falls back on the myth of modernity being born in the laps of practical, native-born American ingenuity.
The film feels composed of burnished, often blackly funny, fragments of erratic memory.
Almost every element of the film has been seemingly engineered to be the ne plus ultra of slapdash ineptitude.
The film is an aimless, albeit sometimes funny, chronicle of absurd behavior and government ineptitude.
Daniel Scheinert’s film finds a very human vulnerability lurking beneath the strange and oafish behaviors of its male characters.
The second half's series of hollow visual spectacles foreground the film as a corporate product.
First Love reveals itself to be an elegant and haunting Takashi Miike film in throwaway clothing.
The Looney Tunes nature of Rambo’s murder spree tempers much of the script’s ideological offense.
Finding the crux of a Pedro Almodóvar film is not unlike asking how many licks it takes to get to the center of a Tootsie Pop.
Balancing humanist optimism with a profoundly downcast view of our collective destiny, the film is inextricably of its moment.
Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
If cinema is, indeed, the domain of freedom, then the festival doesn’t see Netflix as the villain in that struggle.
Like most of Sorrentino’s films, Loro is closer to a stylistic orgy than an existential rumination on Italy’s heritage.
The film often feels like a maximalist season finale trimmed of any build-up.
Arrow’s sterling Blu-ray presentation should serve as an excellent character witness for Lado’s elegiac giallo.
Angela Schanalec’s film configures itself most potently in hindsight as a punch to the gut.
The documentary doesn’t preclude itself from finding something like poetry in its subjects’ struggles.
Zombie discusses how he corrals his films’ furious sense of energy and how sex appeal can trump common moral sense.
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