The Incomer is about being isolated for so long that you forget how to want things.
The Five Devils exudes the claustrophobic feeling of a closed loop of trauma.
We’re having a lot of déjà vu this year.
In The Innocent, perhaps the real McCoy isn’t radical honesty but a performance of the same.
The interplay between creativity, communication, and control is a key theme of the film.
When in doubt, go with the star of the biopic.
The film wants for deeper characterizations or a closer detailing of criminal procedure.
Second verse, same as the first.
The film invites us to read between the lines, to infer story from indirect signifiers.
This awards season, the swag we received from studios could have filled a small warehouse.
Sansón and Me has a way of frustratingly pulling focus away from its ostensible subject.
Central to the film is the tension between geological, mythic, and historical time.
In Water suggests Picasso knocking off a sketch on a piece of paper in a matter of seconds.
The film is unwilling to push its material past a certain threshold of unease or subversiveness.
The Worst Ones sets out to create a thin line between critique and replication.
Afire captures complex human interactions with a clear-minded sobriety.
Philippe Garrel’s The Plough is a minor addition to the iconic filmmaker’s oeuvre.
Hunt Her, Kill Her simply isn’t tight enough to maintain the tension that it seeks to create.
Babylon is progressively feeling like a “circle the wagons” moment for a Hollywood.
Well, now, this is awkward.
For 129 minutes, the defaults to the most pedestrian narrative turns imaginable.