Framing Agnes Framing Agnes — the second feature-length documentary directed by Chase Joynt, who also co-directed No Ordinary Man (2020) — lays the vast bulk…
Jackass Forever manages to once again up the ante, delivering not just the series’ best entry, but one of the most truly cinematic films in…
Erudite and playful and moving, The Worst Person in the World is brimming with ideas and feeling, and executed with the touch of a master storyteller. First…
Emily the Criminal Anyone not already convinced that Aubrey Plaza is one of the most fascinating screen presences working simply isn’t paying attention. Few other…
When your oeuvre is primarily composed of operas, it’s easy to regard a short chamber piece as your most accessible work. This is the mentality…
Black Medusa is cast with a certain austere beauty, but is an otherwise empty exercise in bland, utilitarian form. In a thankless role as one of…
Happening Early on in Audrey Diwan’s Golden Lion–winning feature, Happening, a young woman is singled out in a classroom, unable to answer her professor’s query…
Home Team is roughly as awful a film as Sean Payton seems to be a human based on this deflective vanity project. Sean Payton, head coach…
Compartment No. 6 is a gentle, moving romance that understands the benefit of languor rather than compression in establishing human connection. Single lodgings in a two-seater…
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…
Sharp Stick Though she’s been away from the film festival circuit for 11 years at this point, there’s no doubt that the career path Lena…
Rifkin’s Festival isn’t necessarily major Allen, but it’s a light romp that exists at a fascinating nexus of the director’s career-long pursuits and predilections. There’s a…
There’s plenty of aesthetic polish to Futura, but it’s largely mitigated by the bland, reductive didacticism at its aging core. “How do you do, fellow…
There Will Be No More Night is an intelligent, nightmarish portrait of war as first-person shooter and interrogation of how we consume visual information in our…
Brighton 4th is but the latest example of festival-facing cinema slipping into anonymity under the weight of overly familiarly elements and arcs. There’s a scene midway…
The Cathedral After a series of accomplished shorts and one medium-length feature, the magnificently opaque Notes on an Appearance, Ricky D’Ambrose has returned with The…
Sundown finds Franco up to his usual tricks, offering some appeal in his refusal of convention, but little more. Sort of the self-styled bad boy of…
Nitrate Kisses opens with a lengthy quote by Adrienne Rich, stating that “whatever is unnamed will become […] not merely unspoken, but unspeakable.” The two…
Chief Keef While there’s been little to no media fanfare surrounding its release, Chief Keef’s 4NEM is an album that demands your utmost attention. Honestly,…
Katz’s film is an understated, elliptical work that speaks volumes in its pointed quietude. Ana Katz’s The Dog Who Wouldn’t Be Quiet appears at first…