Promotional materials for Audrey Estrougo’s Suprême NTM biopic — imaginatively titled Suprêmes — notes La Haine, Les Misérables, and Straight Outta Compton as reference points…
Drive My Car Ryusuke Hamaguchi has fast become one of the more dependable filmmaker’s regularly working the international festival circuit, ever since he broke big…
Settlers offers neither genre thrills nor any real interrogation of the material’s potentially rich subtext. Part sci-fi thriller, part western, part survivalist drama, Wyatt Rockefeller’s Settlers…
Brian De Palma is the great voyeur, the plump-bellied pervert, of American cinema. His films have a singularly sleazy feel, gloriously gaudy and admirable in…
Ailey ably captures and reflects its eponymous subject’s abiding vision: art’s capacity as a universal language. On December 4, 1988, dancer-choreographer Alvin Ailey received the…
Black Metal 2 sees Dean Blunt thrillingly return to the mode that first helped him break out, but it can sometimes feel more like an addendum…
What’s more hip than mimicking the particular, diffuse, long-take formalism favored by many of the most acclaimed filmmakers in Asia today? How about having your…
It’s a shame that The Braves didn’t keep its French title Entre Les Vagues (Between the Waves) for its worldwide release. Between the Waves is…
Bonne mère, the second feature from actress and writer-director Hafsia Herzi, locates itself in the city of Marseille. Once known for its wealth and grandeur,…
Deception A long pursued passion project, Arnaud Desplechin’s latest picture adapts Philip Roth’s 1990 slippery, erotic novel, Deception, into cinematic form for the first time.…
Griff’s debut is a bit hit-or-miss, but still marks her as an artist to keep an eye on. One Foot in Front of the Other…
Tyler, the Creator Let’s first address what Call Me If You Get Lost isn’t. It isn’t a mixtape — though the instant shouting from DJ…
Dark in Here puts The Mountain Goats on a welcome new wavelength, opening a door for future sonic possibilities. The Mountain Goats, the ever-prolific quartet led…
With Call Me If You Get Lost, Tyler loses his spark in an album that is just more of the same — but worse. Let’s first address…
Amythyst Kiah’s breakthrough autobiographical album dwells in the darkness without getting lost in the void. If you know Amythyst Kiah, it’s probably through her involvement…
Sin City The Mixtape is a testament to Ski Mask’s skill, proving his music is only getting deeper. Sin City The Mixtape picks up right where…
Air Conditioner is a beautiful, thoughtful work of easygoing charm and surprising intellect. As far as cinematic representations of heat go, Ernest Dickerson’s work on Do…
Mandibles is a profoundly audacious film, moronic and masterful in equal measure. Perhaps the most unbefitting title to arrive in the middle of a global pandemic,…
Miller is a talent to watch, but Joe Bell is profoundly tone-deaf, little more than queer cinema for straight people. Joe Bell is the kind of…
At first glance, Aleksey German, Jr.’s House Arrest is a satire aimed squarely at Russian state repression and censorship. David (Merab Ninidze), a University professor,…
Yohan Manca’s La Traviata, My Brothers and I presents a side of Italy rarely seen in modern cinema, one that lies just beyond the picturesque…