Spider-Man: Into the Spider-Verse by Jake Cole 3.0 With its fine-tuned comic timing and feeling of constant action, Spider-Man: Into the Spider-Verse is downright invigorating.
If Beale Street Could Talk 4.0 by Keith Uhlich If Beale Street Could Talk is at its most potent in the scenes where human frailty and the specter of injustice come more elliptically to the surface.
The House That Jack Built 4.0 by Sam C. Mac Lars von Trier’s The House That Jack Built is a consideration of how to respond to art without the boundaries of morality and reason.
Capernaum 1.5 by Diego Semerene Zain Al Rafeea's naturalness, however uncanny, only makes the film's maneuverings seem all the more obvious.
Never-Ending Man: Hayao Miyazaki 3.0 by Keith Watson Kaku Arakawa's documentary is a candid snapshot of a great artist as an old man.
Alice Rohrwacher on Happy as Lazzaro and the Past in the Present Tense by Marshall Shaffer Rohrwacher discusses why she needed to make this film at this moment.Read More
Christian Petzold on Transit, the Refugee Crisis, and More by Steve Macfarlane Petzold discusses his collaborations with Harun Farocki and more.Read More
Dead Souls by Sam C. Mac Wang Bing’s colossal documentary is an incisive reappropriation of collectivist solidarity.
Mary Queen of Scots by Derek Smith All the palace intrigue and endless backstabbing in Mary Queen of Scots feels at once overly familiar and underdeveloped.
Ben Is Back by Paul O'Callaghan Ben Is Back is more unpredictable and slyly entertaining than its earnest-sounding premise might suggest.
Vox Lux by Jake Cole Vox Lux offers up a concise image of a popstar in decline, but it's also an unmistakably stale one.
Tyrel by Chuck Bowen Tyrel viscerally cuts to the everyday heart of living in a fraught cultural mixing pot.
Amazing Grace by Chuck Bowen The documentary offers a profound glimpse of one of the greatest and most influential voices in modern music.
Dumplin’ by Pat Brown Ater a while, the film's didactic drama begins to grate, its treacly emotions feeling increasingly unearned.
The Great Pretender by Chuck Bowen In the film, Nathan Silver mercilessly links romance and art-making via their inherent self-absorption.
Clara’s Ghost by Chuck Bowen Bridey Elliott invests her film with an ironic sense of social proportion, and without speechifying.
The Charmer by Diego Semerene Director and co-writer Milad Alami's film feels like several fused-together trial drafts of the same narrative.
