Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
George Clooney’s and Julia Roberts’s undimmed charisma brings enough grace notes to Ticket to Paradise that you could easily be taken in by its low-stakes frivolity.
The festival provides a matchless opportunity to take the pulse of Poland’s present-day culture.
The film mines a rich vein of emotive pain without sacrificing an inch of its spooky sense of fun.
The film doesn’t pierce its characters’ icy exteriors to get at the more complex emotions within.
Field’s first film in nearly two decades can’t quite decide on whether Tár’s comeuppance is a grand tragedy or a cosmic joke.
The film is a fable about the merits of selling out versus those of staying true to oneself.
Kirill Serebrennikov’s blackly comedic fantasia paints a none-too-rosy picture of Russia.
Throughout, director John Hyams brings kinetic heat to Sick’s slasher trappings.
Living has the feel of a film afraid to fully step out of its predecessor’s giant shadow.
All the Beauty and the Bloodshed shows the intrepid Laura Poitras pushing into new emotional terrain.
The film sees Catherine as a feminist crusader who undermines the sexist traditions of her time.
Few films feel as excitingly jacked in to our current social climate as How to Blow Up a Pipeline.
For a while, the performances are nuanced enough to distract from the film’s implausibilities.
The film has the swing-for-the-fences ambition that could have made it a compelling folly.
The Woman King doesn’t exactly offer anything subversive when it comes to its view of warfare.
Wendell & Wild is easily legible as a retread of Henry Selick’s past work.
Martin McDonagh’s film is a mordantly funny dark fable about men’s inability to work together for the betterment of society.
Hugh Jackman imbues The Son with a tragic power that makes even Florian Zeller’s most manipulative excesses easier to tolerate.
Dominik’s adaptation of Joyce Carol Oates’s novel paints Monroe as nothing more than a bruised plaything.
The film mostly struggles to dramatize how fundamentally unknowable its main characters are.