The film is content to blandly shrug in the direction of an amorphous societal choas.
When it’s all over, Strange Way of Life aspires to be like a victory lap for Pedro Almodóvar.
Lizzie Gottlieb’s documentary is a celebration of a profound, dying privilege.
Rodrigo García’s film is fastidious, tidy, and lifeless, with every obligatory gesture in its place.
The climax has a certain primally cathartic power, but it doesn’t quite dispel the air of self-satisfaction that envelops the script.
The Black Phone suffers from a repetitive structure, over-stuffed mythology, and under-explored ideas.
Robert Eggers’s The Northman doesn’t lack for blood and guts, but it doesn’t play enough in the well of the weird.
Despite the centrality of a mental break to its proceedings, Marvel's Moon Knight largely pretends at psychological depth.
Zeros and Ones is the unwelcome spectacle of a bad boy attempting to apologize for his badness.
This is an engaging, no-frills entertainment that still fails to justify its reason for being.
The series invigorates its material with the rousing trappings of a semi-comedic western.
RZA’s film is atmospheric survey of the thankless world of the rich and the damned.
A profound sense of restlessness and loneliness haunts Michael Almereyda’s film, which reinvigorates the biopic genre.
Viewed charitably, its sketchy protagonist and vague atmosphere are meant to achieve the effect of a parable.
The tactility of earlier Hirokazu Kore-eda imagery has been traded for a softer, more luscious, nevertheless melancholic dream world.
Forget Dog Day Afternoon, as the film doesn’t even clear the bar set by F. Gary Gray’s tense and exciting The Negotiator.
Its scenes wildly escalate to a fever pitch at the drop of a hat, before then ending, more often than not, with abrupt violence.
With this fractured story of singer-songwriter Blaze Foley, Ethan Hawke battles the clichés of the musical biopic.
Jesse Peretz’s film is loaded with inconsequential detours and questionable character psychology.
Its scattershot structure gets at the truth of pop culture as an ineffable chimera that defines much of the world.