The Many Saints of Newark is an affectionate but utterly empty and unnecessary return to the world of Tony Soprano. It always going to be a…
Black as Night is a remarkably dull vampire flick riddled with awful centrist politics. Part of the second wave of Blumhouse castoffs that have been repackaged…
Red Rocket It’s been far too long since we’ve been graced with a legitimate performance from Simon Rex a.k.a Dirt Nasty, the most esteemed white…
No Time to Die is a gorgeous entry in the Bond canon, but abysmally paced and expository to a fault. After 15 years, Daniel Craig’s run…
Venom: Let There Be Carnage successfully course-corrects from the original, delivering a deeply funny and deeply human film that ranks among the best recent comic…
Bingo Hell is at least a horror film unlike last year’s Amazon/Blumhouse offerings, but is too full of questionable craftsmanship and hollow messaging to recommend. The…
Los Lobos Long before their days of weighty concepts and studio experimentation, Los Lobos cut their teeth as a wedding band, doggedly gigging across Los…
Titane admirably reconciles opposites and piles on texture and sensation, but ultimately reveals itself far too content to trade only in cliché. What is the role…
Old Henry is about as dusty and unoriginal as westerns come. Writer-director Potsy Ponciroli’s Old Henry dares to go where nearly every Western in the history…
The Tragedy of Macbeth The Coens excel in films that flaunt a superficial mastery of genre, form, and cinematic grammar, all to arrive at intentionally…
Coming Home in the Dark isn’t breaking new ground and its ending is a bit too tidy, but it’s a film that feels genuinely dangerous for…
Bob Dylan’s 31st studio album was released to lofty expectations on September 11, 2001. Listeners who managed to snag a copy on that fateful day…
Dear Evan Hansen is a manipulative, unintentionally awkward musical plagued by a black hole of a lead character. Dear Evan Hansen makes a pretty strong…
The Guilty should be primed for easy thrills, but Fuqua’s bland direction and the Scriptwriter 101 screenplay sap the film of any tension. Antoine Fuqua has…
Relative to other prestigious annual film festivals, NYFF typically operates — like due to its situation within the calendar year — as more of a…
After Blue (Dirty Paradise) Bertrand Mandico’s new lo-fi whatsit After Blue (Dirty Paradise) is wildly ambitious, extremely beautiful, and maddeningly dull. In the film’s unspecified…
Walter Hill famously bristled at his film Southern Comfort being referred to as a Vietnam allegory; such denial has had him labeled as inexplicably stubborn,…
None of Mayday’s ideas are bold, and it presents its revolutionary possibilities as nothing more than mere daydream. At the beginning of Karen Cinnore’s Mayday, Ana,…
Dear Chantal After something of a breakout with last year’s delightful meta feature Fauna, Nicolás Pereda returns with Dear Chantal, a short created as part…
Birds of Paradise benefits from gorgeous compositions and dreamy direction, but it never quite reaches the heights its artful pirouetting suggests. On paper, Sarah Adina Smith’s…