Showing Up Despite the steady repetition of themes that define Kelly Reichardt’s filmography (alienation, class, gender, the American West), her output has remained surprisingly unpredictable…
2022’s Hellraiser is the most faithful and respectful franchise entry since its glory days, but it’s far too safe and straightforward to reclaim the original…
Piggy is a startlingly visceral and bloody affair happy to indict and wreak revenge upon a toxic modern society. The pros and cons of virtual festivals…
Triangle of Sadness vacillates between slight but sly commentary and outright gaudiness, but an enigmatic, delightfully bathetic ending ushers Östlund’s film out on a high note.…
Terrifier 2 is a breath of fresh horror air, hilarity, melodrama, brutality, and unhinged schtick rolled into one grisly package, all of it supported by a…
Last Flight Home isn’t probing enough and its repetitions can lend a revolving door feel, but there’s a clear and moving heart to the film that…
The Swimmer is yet another skin-thin film about gay men that is unfortunately more interested in titillation than characterization. The Israeli gay coming-of-age drama The Swimmer…
Smile is an obnoxious attempt at subverting trauma horror, sunk not only by its own smug conceit but also its failure to capitalize on its unique…
Onoda documents how the collapse of one’s worldview can prove as wrenching as any of the violence here depicted, and reminds that cinema is an inescapably…
Deadstream takes a while to get going, but the Winters ultimately deliver a smart, playful found footage movie that proves stylistically a cut above. Joseph and…
The Greatest Beer Run is a toothless, dad-movie escapade that spares too little thought for the tragedy that surrounds its lighthearted story, rendering its attempts at…
Amsterdam is an unredeemable, punchline-less comedy that shamelessly spews the most sickeningly neoliberal messaging of 2022. The given motto of David O. Russell’s last three credited…
Masking Threshold is one of the best films ever conceived about what it means to be terminally online, though its final act turn toward more traditional…
Jeepers Creepers: Reborn is an inane and butt-ugly franchise continuation that delivers exactly nothing to the hordes of nobody who asked for it. Jeepers Creepers: Reborn…
Sidney often teeters into hagiography, but the clear affection that strips the film of balance is also what animates it so vividly. Narrated in large part…
“Telling the truth can be dangerous business,” sing Lyle (Warren Beaty) and Hawk (Dustin Hoffman) in Ishtar (1987), words that seem especially true for Elaine…
Heinz Emigholz opens his latest, Slaughterhouses of Modernity, with a voice. This would have normally been shocking as Emigholz’s austere “Photography and Beyond” series of…
Walk Up Walk Up is Hong Sang-soo’s trickiest film since The Day After (2017), and his most intricately structured effort since The Day He Arrives…
The New York Film Festival officially kicks off today, and as per usual, the slate reflects careful, considered programming from the team, curating a panoply…
Bros is a would be rom-com lacking in comedy, chemistry, and untroubled rhetoric on gay culture. First off, the good news: director/co-writer Nicholas Stoller’s Bros is…
Even given the present soulless age of Disney franchise resurrection, Hocus Pocus 2 is a slight and bargain bin sequel that will likely appeal only to the…