Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
The protagonist may feel cut off from the world, but the film is deeply in harmony with it.
The film, consistent with The Wild Pear Tree, is essentially a story about being stuck.
Bas Devos’s trademark placidity and restraint constitutes a challenge to narrative convention.
The film embodies the alienating angst of millennial life in all its nakedly neurotic glory.
Silva’s film minces neither words nor bodily appendages.
The overarching plot of the film is pretty boilerplate, but the fine details count for a lot.
The film never really leans into the farcical possibilities of its premise.
The film serves as an endearing ode to the joy of music.
Severin’s 15-disc set is irresistible manna from heaven for fans of so-called Euro-sleaze cinema.
The film is almost impatient about teasing out any depth of feeling from its scenarios.
The film assumes that watching someone trudge across sweeps of snow is inherently cathartic.
Car movies remind us of all the things that can happen when we turn the key.
The go-for-broke energy of Emma Seligman’s film makes it consistently infectious.
The film could have really benefited from at least a more dynamic baddie.
Muratova’s impressionism ushers us into the subjective experiences of her female leads.
What the film lacks in connective tissue, it makes up for in sheer vibes.
Charlotte Regan’s film is a baffling clash of two incompatible visions.
The film has the ethereal feel of a half-remembered, mostly pleasant dream.
A unique cultural angle and talented lead can’t elevate this uninspired film.
Moss discusses the ways in which Frankenstein informs the film’s thematic exploration.