We may have gotten to the point where not only is A24 curating its brand with obvious aesthetic guidelines, but also, we have fresh…
Carlos Reygadas, the provocateur of Japon and Battle in Heaven, seems to have finally matured. Some might argue that he took a step forward with Silent Light; others (me)…
Jim Jarmusch’s new horror-comedy, The Dead Don’t Die, is a missive from the other side. For one thing, it’s a zombie film in the…
The Last Black Man in San Francisco is over-directed: The camera impersonates the POV of a pop fly ball, the images frequently are affected…
Ostensibly a return to the populist wuxia films of Chinese director Zhang Yimou‘s mid-2000s hayday, Shadow instead feels more like an exercise in extended…
Ryusuke Hamaguchi’s intimate epic of friendship between women, Happy Hour, was my favorite film of 2016, so needless to say Asako I & II,…
More generationally distinctive than his recent output, Olivier Assayas’s latest, Non-Fiction, engages with a specific vein of cultural discourse regarding technology: e-books as a…
In the year 2019 we have ourselves an honest-to-goodness, totally authentic film maudit, Brian De Palma’s new whatsit Domino. Barely completed, abandoned by its…
The Souvenir is that rare kind of great film, one that teaches you how to watch it as it goes on. There’s a constant…
For writer-director Terry Gilliam, a filmmaker who’s been ’tilting at windmills’ for most of his career, Miguel De Cervantes’s Don Quixote always seemed like…
Alex Ross Perry’s Her Smell is a ferocious film, built upon a mesmerizing, volcanic lead performance by Elizabeth Moss. Moss plays Becky Something, the aged lead…
Over his 30-plus year career, Mike Leigh has incisively observed human interactions and dissected the various factors (upbringing, education, religion, etc.) that define those relations.…
“The closer you get, the further away it seems.” Claire Denis’s latest takes to space to articulate humans’ place in the cosmos, with a story…
It feels pointed that the segment in Long Day’s Journey Into Night’s checkered timeline that forms its romantic core is set in the year 2000,…
“What the fuck are you thinking?” a police chief asks dog groomer Marcello (a cartoonishly wide-eyed Marcello Fonte) about halfway through Dogman. He asks this…
Under the Silver Lake, the third feature from writer-director David Robert Mitchell, is the kind of ambitious, self-indulgent project destined to appeal only to…
Khalik Allah’s new essayistic documentary Black Mother is a deeply moving work of humanistic empathy, intertwining the personal and the political into an aesthetic that…
If nothing else, Gaspar Noe’s Climax suggests that, should someone ever decide to revive the Step Up franchise, Noe might be a name producers could…