Jingle Jangle is a deeply nonsensical and absolute blast of a Hallmark movie riff that quite simply needs to be watched. In its quest to conquer…
Wolfwalkers doesn’t do much to upset its fable template but thrives on the strength of its complex and gorgeous animation. The final film in Tomm Moore…
Once Upon a River is frequently pretty to look at, but Rose fails to build much depth into the film’s fable-like narrative. Once Upon a River…
The Forty-Year-Old Version deploys a charming lead but never manages to coalesce its many and varied influences. Within the relative glut of 21st-century hip hop cinema,…
Kajillionaire is both July’s most restrained and most maudlin work to date There’s no denying that Miranda July’s particular idiosyncrasy shares DNA with a number of…
Enola Holmes is a cartoon. Or perhaps the problem is that it should have been. The film follows the title character (played by Stranger Things’…
Inconvenient Indian succeeds where so many other documentaries fail — namely, in justifying its existence as a visual text. At first, Michelle Latimer’s documentary exhibits…
Residue is a singular, important achievement, a work of shattering beauty and necessary discourse. Director Merawi Gerima was born into an impressive cinematic lineage. His father…
Iannucci’s latest isn’t quite a natural fit for the director, but he still mostly succeeds by injecting his trademark levity into the spirited core of…
I’m Thinking of Ending Things is a masterful and surprising adaptation from Charlie Kaufman, a work of towering humanism braced by an exquisitely disorienting aesthetic.…
The elevator pitch for Patrick immediately calls to mind Lukas Valenta Rinner’s A Decent Woman — both films are outré comedies set in the rarely…
Ciro Guerra opts for transcription over translation, and in doing so, loses the allegorical power of Coetzee’s novel. Ciro Guerra’s Waiting for the Barbarians is…
Yes, God, Yes doesn’t say anything new about oppressive evangelical traditions but is elevated thanks to Dyer’s wonderful comic performance. Yes, God, Yes will be particularly…
Translation is an unimaginative record of lazy appropriation and weak production. To put it as eloquently as possible: the Black Eyed Peas are stupid. That’s not…
Ghostpoet’s latest is a moody, atmospheric haunted house of an album that represents another step in his artistic evolution. Ghostpoet has always been a serious artist; both thematically…
Honey Harper’s Starmaker offers a delicate, otherworldly reimagining of country music. Honey Harper isn’t yet a big name. But if you’ve had any exposure to the musician,…
An album a decade-plus in the making, A Written Testimony is Jay Electronica’s thumping autobiography and manifesto. For most of the past decade, Jay Electronica has been…
To understand the ostensible intent of Jon Stewart’s latest film, Irresistible, it’s best to begin at the end: “Money lived happily ever after…reveling in its…
Judd Apatow has built and padded his filmography on a basic principle: construct vehicles for comic actors in the early days of their ascending stardom…
In many ways, Tsai Ming-liang’s Vive L’amour follows (or establishes, given its chronological situation within his filmography) many of the director’s most characteristic tendencies. From the…