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…
Pacifiction A favorite at Cannes for several years now, self-styled arthouse rockstar Albert Serra has had a dependable home th festival since his (narrative) debut…
Freakscene is worth a watch for completists, but anyone looking for a more comprehensive, well-structured deep-dive would do well to look elsewhere. Legendary indie rock…
In ultimately providing too many answers to its excessive plotting, A Chiara extinguishes some of its more troubling and intriguing possibilities. A gangster film from the…
Don Juan Serge Bozon’s follow-up to Madame Hyde (2017), Don Juan seems to continue that film’s revisionist update of a classic tale, while also returning in…
Look at Me is an entertaining Rorschach test, a declaration and a plea to study the evidence of a spectacular, troubled life. It begins with a…
Carried by Skeggs and Gellner’s relentlessly flickering energy, Dinner in America is a modest but unexpectedly sweet experience. Adam Rehmeier’s sophomore film Dinner in America updates…
Pusha T Let’s face it: Pusha T is an undeniable cornball. He’s the type of dude who thinks it’s impressive to claim that his brand…
The competing modes of The Tsugua Diaries result in the sense of one film slapped upon another, Gomes’ adventurousness sacrificed in the name of the contemporaneous. The…
Mariner of the Mountains is a beautiful family project that becomes diluted within the context of Aïnouz’s filmography, slowing the film’s considerable poetry. Per the film’s…
Final Cut Though remakes of beloved films are usually met with some degree of warranted skepticism, sometimes the combination of director and material is too…
Kiyoshi Kurosawa is a filmmaker with a profoundly idiosyncratic streak that belies his reputation in certain quarters as a “mere” horror director. Consequently, most of…
Chip ‘n Dale: Rescue Rangers needs rescued from the Mouse House, which has here flattened the meta-reboot into a flavorless work of IP regurgitation. Somewhere…
Good Mourning isn’t the cult stoner comedy it angles to be, but there’s a welcome amiability that permeates the entire film, elevating this MGK vanity…
A New Old Play is a rich, complex contribution to the Chinese folk tradition, and a “theater” film for the ages. Without getting too far into…