Jean-Stéphane Sauvaire’s Asphalt City is less a film than a guttersnipe’s wallow.
The film falters when it attempts to mold its best instincts into a discernible narrative shape.
Unable to commit to realism or absurdity, the film fails to live up to the promise of its title.
Yorgos Zois’s film banks on juxtaposition alone without quite delving into more fertile terrain.
Visually and aurally, it’s easy to get as caught up in the world of the film as its characters do.
The Invisible Fight’s winning visual gags commence from the outset.
Assayas’s film is a gently smart and warm-spirited look at love in a time of stasis.
The film is a mesmeric but frequently muddled exploration of transgender self-actualization.
The at times meticulous realism of Tim Mielant’s film eventually gives way to hokey drama.
Antoine Bourges’s latest is his most quietly impactful effort to date.
Everything about S.J. Clarkson’s Madame Web reeks of cynicism.
One Love’s hagiographic bent is symptomatic of the modern-day biopic.
The film builds on a docudrama realism while also reaching toward the mythological.
Even as the film revels in violent delights, the dialogue keeps everything grounded in humor.
It’s the balance of comedy and existential drama that truly elevates Thelma.
The Monk and the Gun Review: A Humane Satire About the Freedoms and Pitfalls of Democracy
The Monk and The Gun draws plenty of humor from a collision of attitudes and ideas.
In the basic rhythms of its story, Out of Darkness plays out like a Predator movie.
Manning Walker discusses what different audiences have made of the film’s ambiguities.
The film’s storytelling structure befits the female experience in American politics.
Even when it’s painting its story in broad strokes, the film plays expertly to audience emotion.
The film takes on a justice system unequipped to prosecute those who commit sex crimes.