2022’s Goodnight Mommy fails to find and replicate the nuance of the original, delivering only shallow ugliness in its stead. Actress Naomi Watts is no…
The Woman King flattens its feminist appeal into Disney-fied girlboss energy and executes what’s left of its vision in both conventional and calculated ways. What’s one…
Do Revenge is over-the-top but toothless, sorely lacking any genuine bite and trading in paper-thin social commentary. Director Jennifer Kaytin Robinson (Someone Great) would have…
Drifting Home can be plagued by its narrative convention and visual monotony, but it’s also a charming portrait of emerging adolescence that will please plenty of…
The African Desperate is a fascinating, assured debut anchored by a star-making turn from Stingily and Syms’ confident formalism. The first few minutes of Martine Syms’ The African…
The Fabelmans Damn near every Steven Spielberg movie, in one sense or another, is about the power and the madness of making movies. So that…
Clerks III is a fans-only venture that’s sunk by a childishness devoid of wonder and poignant moments consistently undermined by self-mockery. In Arthur Penn’s 1967 Bonnie…
See How They Run is an amiable, nerdy romp that draws upon theater history, Agatha Christie, and even Wes Anderson to create a jaunty exercise in…
Riotsville, USA traces an alternate history on top of official record and crafts an incisive examination that is as hypnotic as it is fervent. It’s almost…
Padre Pio Disclaimer: It’s important to acknowledge the severity of the accusations of abuse made against both Shia LaBeouf and Asia Argento, and clarify that…
Brahmāstra Part One: Shiva is a soulless mega-franchise starter that does very little of interest with its massive budget. Chances are, you already know what…
It can sometimes feel that Hold Me Tight coasts by on mood alone, but Amalric maximizes that mode, orchestrating his film’s disorienting tone with virtuosic…
God’s Country is an arrogant and painfully writerly project that is only occasionally uplifted on the strength of its visual flourish. A classic sort of…
Sandwiched in the middle of the late-summer/early-autumn run of major international film festivals, coming on the heels of Locarno, Venice, and Telluride and immediately before…
Pinocchio is a fascinating late-period work from Zemeckis, one that takes in the full scope of his career as he wills us to believe in the…
Cousins’ latest The Story of Film entry largely trades in hyperbole, platitude, and bland observation, rendering it little more than a 150-minute trailer binge. For many…
Honk For Jesus’ plot is unevenly distributed and its tone a bit imbalanced, but it ultimately lands as a solid sendup of toxic church culture sold…
Master Gardener In hindsight, Paul Schrader’s career has been a repeated jettisoning and reappropriation of extraneous artiness, new off-kilter filmic shapes of inscrutable quality emerging…
The Cathedral is D’Ambrose’s portrait of the artist as a young man, a bracingly vigorous work and a precise survey of emotional turmoil. After a series…
Speak No Evil is a grueling experience in the best possible sense, punctuating by a giddily mean-spirited and pitch-perfect ending. Like an unholy amalgamation of Michael…