The cinema of Matthew Vaughn could quite possibly be the most insufferable currently being financed by Hollywood. Say what you will about the MCU —…
There comes a time when you just can’t swallow the bitter pill of reality; you have to crush it up, mix it in with some…
More exasperating than the woebegone premise of Olivia West Lloyd’s feature debut is the experience of actually watching it all unfold. The film limps along,…
Vacation in Malia on the Greek island of Crete, a British tourist hub that might as well be hedonism incarnate, doesn’t end well for the…
Disco Boy, the debut feature film from Italian director Giacomo Abbruzzese, marks an interesting moment for arthouse cinema. Abbruzzese offers up an edgelord take on…
Following quickly after the opening credits to She is Conann — a rapid montage of freakish landscapes played to a hypnotic classical piece — director…
Molly McGlynn’s sophomore feature, Fitting In explicitly reveals its core conceit from the very beginning, opening with two quotes on a symbolically pink-colored background: the first,…
Director and co-writer Alex Schaad has made a bold gamble with his new film Skin Deep, taking what is essentially an ‘80s-style body-swap premise and…
Head South For as long as the cinematic form has existed, it has embraced nostalgia, that cultural drug which oversees virtually every socio-political framework known…
In its early narrative, Simone Scafidi’s Dario Argento Panico introduces its eponymous subject, now in his 80s, as a sort of mythologized figure — a…
The virtues of Danish director Nikolaj Arcel’s new feature, The Promised Land, are those of old-school Hollywood studio pictures. The film is scrupulously well-constructed in…
In his books Cinema 1 and Cinema 2, Gilles Deleuze draws a distinction between the movement-image and the time-image. The movement-image is concerned with linear…
Fabio D’Orta’s The Complex Forms opens with a long pan over a burning car, set to an audacious classical piece, that slowly flips 180 degrees…
Pete Ohs’ amiably idiosyncratic new feature Love and Work is set in a future where jobs are illegal. It begins with Diane (Stephanie Hunt, also…
What do you get when you cross the clickbait sensibilities of TikTok with the winking ironies of the Marvel Cinematic Universe? A confused predilection for…
The artifice of acting is almost always an unwelcome thing: draw too close to metafiction, and risk divorcing the spectator from the comforts of realism.…
The worst thing a film — or any other form of art — can do is work too hard to be about something. This is…
Citizen Weiner What do you get when you cross the clickbait sensibilities of TikTok with the winking ironies of the Marvel Cinematic Universe? A confused…
Horror movies often demand that viewers to extend a generous amount of leeway when it comes to logic. Does it make sense that the woman…
They say that comedy is subjective, but even that benign truism can’t begin to explicate the lunacy at the heart of Hundreds of Beavers. It’s…