Catch the Fair One doesn’t quite pull off its untidy ending, but it’s still an impressive bit of viscerally and emotionally pummeling cinema. Integrating the texture…
Gunna Well, he’s gone and done it again: Gunna has released yet another masterpiece, the type only Gunna could or would ever make. But we’re…
Branagh seems more preocuppied with his acting than his directing, but Death on the Nile retains a high enough enjoyment floor according to its playful whodunnit-isms…
Here Before suggests early promise, but ultimately settles into rote psycho-thriller styling and manipulative table-setting. Stacey Gregg’s Here Before has all the markers of a good…
Fabian bears perhaps a thin thesis, but Graf remains a sly evangelist for and director of the dignity of disorder. Early on in Fabian: Going…
Playground is a penetrating, enveloping, and often brutal portrait of childhood. Playground, Laura Wandel’s first feature, is indeed set on an actual playground, but perhaps its…
The distance between Cam’ron’s debut album Confessions of Fire and his fourth one, canonical 2000s NYC rap opus Purple Haze, isn’t so great, a matter…
The Other Me amounts to little more than an empty spectacle banking on David Lynch’s name. Let’s get it out of the way: the most interesting…
There’s some mild fun to be had with Last Looks’ particular soft noir style, but it ultimately registers as a pale imitation of something you’ve seen…
Lingui is a middlebrow arthouse trifle that offends in its simplicity and deference to narrative convenience. Lingui, The Sacred Bonds, the latest from Chadian director Mahamat-Saleh…
Moonfall is big, dumb, exuberant fun and a welcome blockbuster-sized tonic from the endless IP regurgitation clogging theaters. Who’s ready for another disasterpiece from the…
Like so much recent horror, Slapface relies too heavily on soft metaphor, but there’s sufficient talent here to still keep things interesting. Jeremiah Kipp’s Slapface…
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…