Post Malone Few may have guessed that Austin Richard Post (or, Post Malone, as translated by an Internet rap name generator) would be the enduring…
Inu-Oh Masaaki Yuasa simply can’t be stopped — or at least that’s what it has seemed like for the past two decades, during which the…
Resurrection is a haunting work of psychological brutality, far superior to the metaphor-heavy trauma horror it’s being incorrectly lumped in with. Rebecca Hall has steadily amassed…
Sharp Stick is a more specific work than much of what Denham has produced in the last decade, but it’s hindered by an awkward, shaggy structure…
Though frequently overt in its commentary, Medusa still enthralls thanks to its formally and functionally immersive world-building. Set in an alternate Brazil where evangelical conservatism has all…
Ryan: I originally intended to open this second part of our correspondence with a scene I thought was in this stretch from episodes five to…
OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or…
Ali and Ava is a more formally restrained work for Barnard, but one imbued with limitless compassion and hardscrabble authenticity. Clio Barnard’s 2010 debut film…
Hypochondriac is but the latest elevated horror project to arrive, spinning its wheels for 90 minutes without anything new to say. Fans of elevated horror,…
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…