Tension becomes Caitlin Cronenberg’s film. The release of it, not so much.
The film captures the putrefaction of colonial rule with a morbid sense of humor.
LaRoy, Texas Review: John Magaro and Steve Zahan Enliven Coen Brothers Karaoke Night
Writer-director Shane Atkinson’s film wears its Coen brothers influence on its sleeve.
In Baloji’s film, one family attempts to reconcile two irreconcilable yet inextricable realities.
Bonello discusses The Beast and Coma, his understanding of time and the self, and more.
Dev Patel’s shaggy revenge flick treads familiar territory with captivating flair.
McKay discusses the connections between his two latest performances.
In The First Omen, Stevenson atomizes all the darkness and the light within ourselves.
The People’s Joker Review: Vera Drew Unleashes Underdog Spirit in Trans Coming-of-Age Story
Throughout, Drew lampoons comedy institutions as freely as she does superhero hegemony.
Housekeeping for Beginners Review: A Moving Portrait of Family Hindered by Formulaic Moves
There’s not that much of a feeling of precarity around where the film will eventually settle.
The film ably captures the energy of a quirky children’s book.
The film is at once among Allen’s most economical works and one of his most free-spirited.
The Old Oak Review: Ken Loach’s Swan Song Is a Moving Clarion Call for a Better Tomorrow
The Old Oak, like the best of Loach’s work, isn’t so much a sermon as it is a plea.
On the occasion of Godzilla x Kong’s release, we ranked the films in the Godzilla franchise.
Rohrwacher and O’Connor discuss the ethereal qualities of the film’s main character.
Godzilla and Kong’s team-up is an inevitability, but the film takes its sweet time getting there.
Jean-Stéphane Sauvaire’s Asphalt City is less a film than a guttersnipe’s wallow.
The film flits uncertainly between telegraphing seriousness and seeking refuge in camp.
The filmmaker discusses his approach to depicting the present day as a historical moment.
The film is seemingly afraid to do anything too extreme with the toys at its disposal.
The comparison to Christopher Nolan’s breakout doesn’t do Adam Cooper’s film any favors.