Though Visconti operates on the surface level of the material, he crafts a seductive surface.
The film’s humor is a clenched-fist assault on runaway greed and systemic corruption.
The film meanders its way toward its goal with a maddening lack of focus and narrative thrust.
The film lucidly shows how a coming of age can be thrust upon a person against their will.
There’s considerable emotional truth on display throughout Benjamin Ree’s documentary.
The film takes the world’s addiction to self-actualization to one of its darkest implications.
The film is fatally convinced that it has a subversive relationship to genre.
The film brims with a vitality that’s in lockstep with the titular trio’s work and ethos.
A wealth of contrasting stimulation gives the film a singular and intimate atmosphere.
The film is an insightful look at modern discontent and the pandemonium that it breeds.
Bertrand Mandico’s film is the cinematic equivalent of a French Symbolist poem.
Alex Schaad’s film traffics in body ambivalence more than body horror.
Panico neither caters to newcomers to Argento’s work nor preaches to the converted.
Sam and Andy Zuchero’s film suggests a Pixar film by way of Stanley Kubrick.
Eisenberg’s film doesn’t embrace easy answers or platitudes.
The things that elevate Chiwetel Ejiofor’s film are those that elevated Rob Peace’s life overall.
This crowd-pleaser sets out to snuff out much of what’s so singular about its central story.
For all its thematic heft, and to its benefit, Exhibiting Forgiveness moves lightly.
There’s only so much Charles Stone III can do with the script’s “head held high” cornpone.
Shuchi Talati’s impressive debut feature fully recognizes the power of a lingering gaze.
Avilés discusses why it’s important to be in touch with a collective consciousness.