We Met in Virtual Reality is a formally fascinating and emotionally rich documentary that proves far more humanist than its tech-centric tagline might suggest. Joe…
A Love Song has a rustic, unadorned quality that is easy to appreciate, but its calculated modesty only does so much to distinguish it from…
For a brief period of time in the early-to-mid 2000s, there was perhaps no more exciting international director than Bela Tarr. Advocates like Jonathan Rosenbaum,…
The Nan Movie aspires to recreate old sensations, but spills out as a shadow of its former self. Whither, the British comedy? Once, this land…
My Donkey, My Lover & I might trade too liberally in cliché, but its escapist texture, palpable charm, and refusal to give in to sexist…
The Gray Man is an unforgivably bland and phoned-in actioner defined by digital smearing and toothless character work. It’s a little disingenuous to describe a $200…
The Mole Song: Final The Mole Song: Final is the third and, well, final part of Takashi Miike’s Mole Song series about an undercover cop…
Though its thematic threads begin to fray, Moloch remains a tantalizing evocation in primal fear that explores the allure behind myth and symbol. Idolatry has remained a…
The Killer is a shallow retread of already shallow ground and sunk by the blank slate of a “hero” at its core. As he did in…
Nope is undeniably ambitious and cribs from the best, but its determined obliqueness and prioritizing of subtext over genre thrills make for a rather sluggish affair.…
Shin Ultraman In 2016, mad genius Anno Hideaki took time off from his twenty-year-long project of remixing, remaking, revising, and reinterpreting his classic anime TV…
The Wheel isn’t always a smooth ride, but it ultimately clicks into place in its affecting final stretch. When contemplating filmmakers who would attempt to…
Anything’s Possible is a well-intentioned film that is unfortunately undone by its shallow lip service and artless execution. Amazon’s new teen romance Anything’s Possible is…
There’s a wistful touch of George Bailey to the fatefully doomed protagonist of The Executioner (El Verdugo): José Luis is a Spanish undertaker yearning to…
Where the Crawdads Sing is a soggy, laughably self-serious mess that isn’t able to calibrate its particular wavelength of melodrama. Based on the wildly popular 2018…
Anonymous Club takes on a similar emotional shape to Barnett’s music, but largely fails to capture the same level of nuanced artistry. Danny Cohen’s Anonymous Club…
Kevin Gates It’s been a relatively humdrum couple of years for Kevin Gates, the bulky, burly-voiced performer who deals in big, pop-friendly melodies and stocky…
The Deer King is beautiful to look at and occasionally charming, but its underdeveloped plot gets in the way of any pleasures and makes for an…
Gone in the Night is a slog undone by its own structural conceit, confining its compelling material to flashbacks and riding a wave of dull inertia…
American Carnage is harmlessly fun and occasionally intriguing in its provocations, but it’s all predicated too closely on overly familiar touchstones. What’s the ideal framework…