Early on in Nikolaus Geyrhalter’s new film Matter Out of Place, a man investigating an unearthed landfill site utters the phrase “out of sight, out…
There’s a relaxed tone to Alessandro Comodin’s The Adventures of Gigi the Law — one that’s so lackadaisical the film often threatens to stall whenever…
The needle-eye gateway of the coming-of-age film is a near-obligatory rite of passage for the “emerging” Canadian director. Accordingly, Trevor Anderson sets his debut feature,…
Super Hero is an impressive step forward in animation for the franchise, even as its constant winking can sometimes come off as an insecure plea for…
Three Minutes can veer off course when it attempts to wax poetic or philosophical, but on the strength of its source material, ultimately proves an adept…
Orphan: First Kill lacks the pulpy playfulness and satirical intent of the original, entirely misunderstanding its appeal and rendering this sequel an underwhelming curiosity at best.…
Spin Me Round, which bafflingly sidelines its most intriguing performer halfway through, ultimately offers little more than a light subversion of European vacay romcoms. Jeff…
Renaissance doesn’t rise to the heights of more personal records like Beyoncé and Lemonade, but it’s complex deep house influence still makes a persuasive case for the…
Take it Like a Man isn’t a flawless record, but it has the swagger and the confidence of an artist who knows she’s struck a…
X isn’t close to a successful record, but it does prove that Ken Carson has tapped into an enticing sound that could lead to a more…
With Emotional Creature, Beach Bunny bucks the trend of TikTok music vapidity and delivers an impressive, sincere indie rock record. With Emotional Creature, Beach Bunny’s second…
Beyoncé Dropping just over a month after Drizzy’s divisive, house music-inflected megamix, listening through Beyoncé’s sinuous dance record might provoke commentary like the text that…
Spirit of Ecstasy is a difficult and deliberately provocative work of avant-garde experimentalism, but is further proof of Imperial Triumphant’s ability to back up even…
Girl Picture is a pop-oriented confection of little substance, vapid writing, and seeming contempt for its characters. Alli Haapasalo’s Girl Picture is a confounding frustration. Set…
“The mise-en-scène flexes emotion like you flex your muscles.” So said Bertrand Tavernier of Jacques Becker’s Casque d’or, an observation applicable to the latter’s all…
Lisbon plays itself in Where Is This Street? or With No Before or After, the first collaboratively directed film from partners João Pedro Rodrigues and…
Human Flowers of Flesh Bouncing back from two years worth of Covid-related disruption while still riding out some major switch-ups and art direction, the Locarno…
Bouncing back from two years worth of Covid-related disruption while still riding out some major switch-ups and art direction, the Locarno Film Festival returned in…
Since the advent of an autonomous African cinema in the 1960s, Western audiences have grown accustomed to a realist, declarative style that served to describe…
The latest film from veteran Malaysian director Woo Ming Jin (Monday Morning Glory, The Tiger Factory) is an interesting cinematic specimen. A filmmaker with sensibilities…
Jean-Paul Civeyrac’s A Woman (Une femme de notre temps) could be taken for a statement film: Juliane (Sophie Marceau) is a Parisian chief of police;…