The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
Madison and Baker discuss how youth and love shape the eponymous character’s trajectory.
Goodrich’s modest ambitions yield modest rewards.
The film’s attempts to tell two stories at once ultimately see it damned by its own ambition.
This is a near-perfect sequel in terms of go-for-broke intensity and one-upmanship.
Nocturnes is one of the most reverent treatments of scientific process in recent memory.
The film builds an all-consuming sense of dread and panic that almost sneaks up on you.
Its pantomime villains aside, this is a film about men who are doing their best to serve God.
The film is most interesting when observing the subtler power dynamics at play within frats.
McQueen’s painterly eye and showmanship are put in service of a populist fable.
The meticulous recounting of Sara Jane Moore’s actions only deepens their mystery.
John Crowley’s film never builds to a cohesive, or emotionally satisfying, whole.
I’m Still Here’s affection for its subjects, though tender, is largely hagiographic.
The 49th edition of the festival was a showcase of more liberal sentiments and artistic styles.
This is a film of great freedom, suggesting that anything can happen at any given moment.
The drama of the film is a literal life and death struggle that’s exceedingly of this moment.
In Guadagnino’s latest, the queer, tragically, becomes quotidian.
The huge party at the film’s center is among the great parties of recent American cinema.
The film finds Marianne Jean-Baptiste channeling an anger that feels excruciatingly real.
Just as its style is enervating, Emilia Pérez settles for mundane portraiture.
Grief may be its starting point, but the film has much more on its mind than that.