Blue Island is a similarly interrogative work to the director’s Yellowing, but here taking on a grander and more experimental form. Chan Tze-woon’s Yellowing was…
Swallowed Things have been building to this moment for a while, but ever since films like Julia Ducournau’s Raw crossed over to find a mainstream…
The American cinema of the 1970s is a deep, deep well of intersecting delusion and pyrrhic victories, though hindsight has made it so that’s it…
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…