Deception A long pursued passion project, Arnaud Desplechin’s latest picture adapts Philip Roth’s 1990 slippery, erotic novel, Deception, into cinematic form for the first time.…
Tyler, the Creator Let’s first address what Call Me If You Get Lost isn’t. It isn’t a mixtape — though the instant shouting from DJ…
Air Conditioner is a beautiful, thoughtful work of easygoing charm and surprising intellect. As far as cinematic representations of heat go, Ernest Dickerson’s work on Do…
Mandibles is a profoundly audacious film, moronic and masterful in equal measure. Perhaps the most unbefitting title to arrive in the middle of a global pandemic,…
Miller is a talent to watch, but Joe Bell is profoundly tone-deaf, little more than queer cinema for straight people. Joe Bell is the kind of…
Onoda, 10,000 Nights in the Jungle Every pronouncement that points to a Second Coming ruptures the human sense of linear temporal experience, pulling one out…
How It Ends is the kind of pandemic-shot film that fails to capitalize on the novelty of its creation’s circumstance. New indie comedy How It…
Eyimofe is yet another sub work sliding in neatly under the exhausted moniker of European art house. Imagine, ever so briefly, that you’re actually in…
“I find ghosts in Japanese horror much more terrifying. In the standard American horror canon, because a ghost violently attacks you or comes after you,…
In Front of Your Face The films of Hong Sang-soo, ever so magical yet construed from the affairs of quotidian encounters, every minimal gesture compounding…
France Bruno Dumont’s monumentally titled France takes the director’s search for spiritual transcendence amidst everyday violence into a new zone of satiric melodrama. Having taken…
The Works and Days is a gargantuan feat, one that ruminates on life’s impermanence and rewards viewers willing to spend time in its company. What…
The final Fear Street entry is something of a mixed bag, thriving in its eponymous past setting but floundering a bit as the series comes…
Space Jam 2 musters an engaging mid-film stretch, but it ultimately sinks under the weight of its overbearing corporate IP. Warner Brothers did their best…
Gunpowder Milkshake is a dog of a film, utterly derivative and lacking in any recommendable action spectacle. Take the weird mythology of the Johns Wick, the…
In Hong Kong’s tropical humidity, where sweltering bodies cram around mahjong tables or hunch over noodle stands, how can two people in a forbidden romance…
Escape Room: Tournament of Champions rides the same strengths of the original, resulting in a film that is a bit spare but still a feat of…
Jacquot’s latest sticks to the directors strengths, mining poignancy from the inexplicable and beauteous. As erratic and eccentric as any new film by Benoît Jacquot…
Die in a Gunfight isn’t the worst Romeo and Juliet adaptation on record, but it’s certainly not a good one. The last thing the film…
The dull and ethically dubious Mama Weed fails to live up to the gonzo promise of its title. With a premise and (English language) title sure…
Japanese Breakfast For the last couple of years, big Internet music press has been hellbent on selling us this notion that indie rock is still…