Clay Tatum’s film is wholly and refreshingly uninterested in tuggling at the heartstrings.
The film reminds us that any coming of age is a risky business where finitude and mourning are the only guarantees.
The script’s steady succession of red herrings is more tiresome than terrifying.
Diop discusses her aesthetic choices across editing, costuming, and sound design.
A paranoid man embarks on an epic odyssey to get home to his mother.
A Radiant Girl will open on February 17 in Manhattan at the Quad Cinema.
Operation Fortune proceeds as a rote run-through of stock spy-film scenarios.
Kyle Edward Ball’s debut feature suggests a Halloween issue of Architectural Digest.
Chess Story craftily melds the genres of period drama and psychological thriller.
Simón discusses her approach to reflecting the gender dynamics of rural Spain and more.
In the end, the film’s violence doesn’t match the outrageousness of M3GAN’s cruelty.
The clichés come early and in great abundance in Brett Donowho’s The Old Way.
This is a statement film inextricably tied to discourse in and around fourth-wave feminism.
The film is so toothless that its protagonist is ultimately about as forbidding as a warm hug.
The film often feels like one of the corpses in its story: cold, lifeless, and without a heart.
There are only clichés in the rise-and-fall material of Kasi Lemmons’s biopic.
Lizzie Gottlieb’s documentary is a celebration of a profound, dying privilege.
The Looney Tunes-esque joy with which the film delivers its parodies is infectious.
Marie Kreutzer discusses her take on Sissi and how she approaches writing historical fiction.
The film is a down-in-the-muck advert for an ultimately dewy-eyed vision of the silver screen.
The Old Town Girls never seems to have a strong enough sense of the kind of film it wants to be.