The film is at once a journey of self-actualization and a testament to female solidarity.
The film rarely articulates the book’s ideas with any real sense of the outside world without resorting to easy exaggerations.
Individual scenes are set to the rhythm of the young women’s conversations, which at times approach Gilmore Girls-level warp speed.
The innate imperfection of canine hair gives Wes Anderson’s lovingly crafted dioramas the illusion of life.
Guillermo del Toro is a profoundly gifted formalist with a uniquely perverse obsession with the binaries that separate us as human beings.
A uniquely American comedy, Greta Gerwig’s Lady Bird is testy, humane, and firmly rooted in its time and place.
Pablo Larraín’s film bluntly hammers home the notion that history is framed by perception rather than reality.
Mike Mills’s 20th Century Women incurs sorrow at the prospect of saying goodbye to its characters.
Todd Solondz fails to configure the hand-offs of the dachshund in a narratively inventive manner.
Rebecca Miller is at her best when she finds the shared wavelengths of her lead cast’s divergent styles.
It’s both the most concentrated and antic film in Noah Baumbach’s unofficial New York trilogy.
Philip Roth’s original ending is cranked up to 11, flattening the more interesting contours of Al Pacino’s performance.
Every substrata of music geekdom deserves a period piece as this swan song for the golden era of French house music.
The film is a return to form for its director, and the first truly satisfying vehicle for its star.
Lola Versus is for anyone who still finds the self-involved romantic-comedic travails of a floundering yet privileged aspiring writer amusing.
Damsels in Distress is another classic in the making from one of America’s greatest comic filmmakers.
The film feels like too perfect a portrait of quarter-life malady.
Frances Ha feels like an unusually intimate, personal piece, a return to Noah Baumbach’s early, more naïvely optimistic phase.
The farce is either laid on with a trowel or reeks of sour misogyny.
A year in the life of a young woman unhappy in love and uncertain in career, the film could easily be faulted for the narrowness of its worldview.