Fahrenheit 11/9 by Jake Cole 1.5 In Fahrenheit 11/9, Michael Moore's circus-showman duplicity is as crass and abhorrently self-promoting as that of the man he seeks to oust.
The House with a Clock in Its Walls 1.0 by Jake Cole By the end, The House with a Clock in Its Walls completely loses sight of the trauma and grief that was meant to give the film its emotional core.
The Sisters Brothers 3.0 by Rory O'Connor The Sisters Brothers proffers a sort of Edenic vision of a latter-day El Dorado that’s worth basking in.
Colette 3.0 by Peter Goldberg Wash Westmoreland’s acutely told film relishes the messy details and ambivalences of Colette’s life.
Love, Gilda 2.5 by Pat Brown Its success is due to the way it relies on Radner's often elegant words to relay her experience of female stardom.
Nicole Holofcener on The Land of Steady Habits and Career by Elise Nakhnikian The filmmaker discusses what Ben Mendelsohn has in common with Catherine Keener.Read More
Hélène Cattet and Bruno Forzani on Let the Corpses Tan by Peter Goldberg The married filmmakers discuss their creative process, style versus substance, and more.Read More
Song of Sway Lake by Derek Smith Ari Gold's The Song of Sway Lake plays like several disparate melodies overlapping one another.
All Things Are Photographable by Chuck Bowen It's a poignant portrait of an artist trying to transcend the limitations of his art by refusing to see the process through.
The Predator by Jake Cole Even an act of noble sacrifice late in The Predator is reflective of Shane Black’s streak of puckish nihilism.
White Boy Rick by Jake Cole In the end, director Yann Demange’s White Boy Rick never overcomes its selective sense of moral outrage.
Mandy by Chuck Bowen Director Panos Cosmatos’s Mandy is a profoundly violent and weirdly moving poem of male alienation.
Lizzie by Henry Stewart It’s a rallying cry against a suffocating patriarchy that rapes its servants and disenfranchises its daughters.
A Simple Favor by Derek Smith A Simple Favor haphazardly vacillates between suburban satire, goofy comedy, and dark, twisted psychological thriller.
The Children Act by Diego Semerene Passion, along with the delicious disorder that so often accompanies it, is only allowed into the film toward the end.
The Land of Steady Habits by Chuck Bowen The film benefits enormously from the casting of Ben Mendelsohn as an unexceptionally tormented upper-middle-class guy.
Final Score by Pat Brown Like the film, Dave Bautista’s Knox is a copy of a copy, shorn of the details that distinguish a true original.
