What is the opposite of a Golden Age? That term, usually attributed to a civilization’s growth and stability in market and cultural forces, may not…
Michael Snow’s Wavelength still stands as the prototypical “experimental film” — perhaps the one experimental work that film studies professors will continue selecting as a stand-in for the miscellany…
Lebanese filmmaker Ali Cherri has been a bit of a fixture on the festival circuit with his wry, melancholy short works addressing the state of the Arab world.…
Dark Glasses ends Argento’s decade-long hiatus and even longer stretch of mediocre works with a return to form for the Italian master. It’s been a…
Ballerini’s latest leans into her strength as a writer, and builds upon her previous works in a welcome fashion. Subject to Change is country singer-songwriter…
Decision to Leave piles on the plot twists, but never loses its essential noir romance vibe. Tang Wei remains one of the great actresses of our…
McKee’s latest might be enough for his diehard fans, but its stretched runtime makes any interesting happenings too little, too late. Lucky McKee’s best films…
Summit Fever could have climbed to better heights, but it’s base-level take leaves it just a cheesy, overlong mess. With rock-climbing films steadily entering the…
As the one-dimensional cartoon Colonel Quaritch (Stephen Lang) tells his new recruits, “You’re not in Kansas anymore. You are on Pandora,” James Cameron is writing…
Stars at Noon is the perfect externalization of a lovers-on-the-run experience, a fitting send-up to its source material. A gnarled, lightbulb-spotted, two-dimensional plastic facsimile of a…
Lyle, Lyle, Crocodile is an undeniably gonzo experience, but it’s ultimately not much more than an oddball visual accompaniment to the film’s sure-to-boom soundtrack. Josh Gordon…
Werewolf by Night is among the less irksome MCU products of late, but it’s still not more than a minor goof of little consequence to anyone…
God’s Creatures works best in its embrace of character interiority, but a tendency toward stacking the deck with symbol and portent leaves little nuance to reckon…
Significant Other is a competently made horror diversion, but one utterly lacking in scares or thematic coherence. In a recent interview regarding Paramount Pictures’ release of…
Project Wolf Hunting is a symphony of wanton destruction, a splatter-heavy genre mash-up that’s so cartoonishly garish as to become absurdly funny. A symphony of wanton…
In a spare industrial space, an audition is held for men between the ages of 16 and 99. Sometimes individually, sometimes in pairs or groups,…
Showing Up Despite the steady repetition of themes that define Kelly Reichardt’s filmography (alienation, class, gender, the American West), her output has remained surprisingly unpredictable…
2022’s Hellraiser is the most faithful and respectful franchise entry since its glory days, but it’s far too safe and straightforward to reclaim the original…
Piggy is a startlingly visceral and bloody affair happy to indict and wreak revenge upon a toxic modern society. The pros and cons of virtual festivals…
Triangle of Sadness vacillates between slight but sly commentary and outright gaudiness, but an enigmatic, delightfully bathetic ending ushers Östlund’s film out on a high note.…
Terrifier 2 is a breath of fresh horror air, hilarity, melodrama, brutality, and unhinged schtick rolled into one grisly package, all of it supported by a…