Crimes of the Future is a fascinating, ambitious project from Cronenberg, who readily sources his own career-long preoccupations in the creation of something that feels…
After Blue is a delirious visual experience, but Mandico stretches his few ideas far too thinly, resulting in a beautiful but repetitive trudge. Bertrand Mandico’s…
Neptune Frost lacks for coherence, but remains an oddity worth seeking out on the strength of its formal expressions and bold exploration of ideas. Saul…
The Phantom of the Open doesn’t deviate much from the underdog sports movie template, but has just enough depth and charm to slightly elevate it…
It’s a common misconception of auteurism that once a filmmaker has been so designated, every film by that particular artist suddenly becomes an unimpeachable masterpiece.…
One Fine Morning Stepping back from Cannes’ main competition in favor of the somewhat cooler (in 2022, anyhow), awards-less Directors’ Fortnight lineup, Mia Hansen Løve…
A sharp, intelligent, and character-driven LGBTQ riff on Austen, Fire Island is one of the best things to happen to the rom-com genre in a…
With DASHCAM, Savage threads a tricky needle of Screenlife, first-person POV, and found footage cinema, but if you can vibe with the assemblage, there are…
Call him what you want: a legend, heir to true Hollywood classicism, an egocentric industry black sheep, a man of his own mark who frequently…
Watcher stumbles into the territory of predictability that has sunk many a better horror-thriller before it. Horror inspired by the unique voyeurism of apartment-living and…
Poser is an ambitious work that pushes contemporary indie filmmaking out of its familiar comfort zone, doing so with authenticity and creative aplomb.. In the…
Tori and Lokita Even by their standards, Jean-Pierre and Luc Dardenne’s Tori and Lokita is a relatively to-the-point affair. Set in an unnamed Belgian city,…
Future It’s been a while since we last heard from Future — if, and only if, one goes off of his previous track record’s metrics.…
Forgotten for several decades after its 1982 release, Kathleen Collins’ Losing Ground was rediscovered in 2015, leading to a flurry of posthumous critical attention that…
Sycorax is a fluid re-orientation of filmic and theatrical modes, a mostly successful attempt at contextualizing classic modes within a contemporary context. The vastly different…
War Pony The past decade suggests an encroaching — or, perhaps at this point, arrived — renaissance in Indigenous art. Regardless of the medium, native…
Like The Slim Shady LP before it, Eminem’s fourth and arguably most enduring album The Eminem Show is receiving a very big, very deluxe reissue…
Triangle of Sadness Like its titular metaphor, Ruben Östlund’s follow-up to his caustic and controversial Palme winner unfurls in cryptic yet characterizable fashion; in physiognomy,…
The Bob’s Burger’s Movie is fitfully amusing but wholly unnecessary, its translation to a long form and the big screen proving distinctly underwhelming. Fox Television’s long-running…
There Are No Saints is for exploitation heads only, a warmed-over rehash that excises much of Schrader’s heady themes in favor of bland bloodshed. In…