The Woman in the Window never manages to transcend the impression that it’s merely being clever.
Spiral seems primed to explore the present-day fight against police brutality, but it never lives up to that promise.
Timur Bekmambetov’s Screenlife film is more fluff piece than hard-hitting news story.
These films show us utopias, dystopias, distant planets, and our own Earth destroyed.
The film’s aesthetic, understandably fused with its protagonist’s dogged can-do attitude, is both the source and limitation of its power.
Riders of Justice ultimately fumbles by abandoning character portraiture for pyrotechnic cliché.
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Theo Anthony’s film is a playful, enraging, free-associative cine-essay that both expands and eats itself alive as it proceeds.
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In the film, Australia is a country of sleepwalkers drifting along in a placid dream, unable or unwilling to wake up and move forward.
Cacophony eventually takes over Wrath of Man in the tradition of many Guy Ritchie films, stranding most of the actors in the process.
The film has the knowing swagger of something on the cutting edge but none of the self-awareness to realize it’s late to the party.
The film’s cramped compositions hauntingly underline the claustrophobic nature of its protagonist’s life.
While there’s never a moment of overt violence in Azor, a river of blood courses beneath every impeccably composed frame.
At its best, Oxygen successfully approximates the feel of an escape room.
Both films center around women who are crippled by domesticity.
Throughout, Jane Schoenbrun reveals themself to be adroitly plugged into both the current technological and sociological landscape.
Fern Silva approaches an idyllic yet troubled archipelago with a cosmically open-minded humanism.