Huang Ji is among the last handful of Chinese directors to sneak through the portal distribution company dGenerate Films, the center of an important 2000s…
Brahmāstra Part One: Shiva is a soulless mega-franchise starter that does very little of interest with its massive budget. Chances are, you already know what…
It can sometimes feel that Hold Me Tight coasts by on mood alone, but Amalric maximizes that mode, orchestrating his film’s disorienting tone with virtuosic…
God’s Country is an arrogant and painfully writerly project that is only occasionally uplifted on the strength of its visual flourish. A classic sort of…
Sandwiched in the middle of the late-summer/early-autumn run of major international film festivals, coming on the heels of Locarno, Venice, and Telluride and immediately before…
Pinocchio is a fascinating late-period work from Zemeckis, one that takes in the full scope of his career as he wills us to believe in the…
Cousins’ latest The Story of Film entry largely trades in hyperbole, platitude, and bland observation, rendering it little more than a 150-minute trailer binge. For many…
Honk For Jesus’ plot is unevenly distributed and its tone a bit imbalanced, but it ultimately lands as a solid sendup of toxic church culture sold…
Master Gardener In hindsight, Paul Schrader’s career has been a repeated jettisoning and reappropriation of extraneous artiness, new off-kilter filmic shapes of inscrutable quality emerging…
Camarera de piso — Lucrecia Martel’s latest short, commissioned as part of The National Autonomous University of Mexico’s Síntesis project — comes with a curious…
In an interview with Michael Guarneri, Lav Diaz states quite emphatically that “tragedy and suffering are an inherent part of man’s existence and death is…
It’s the pillowing warmth of nostalgia, which sporadically rears its head that it may provide orientation and affirm consciousness amidst historical chaos, that makes up…
The Cathedral is D’Ambrose’s portrait of the artist as a young man, a bracingly vigorous work and a precise survey of emotional turmoil. After a series…
Speak No Evil is a grueling experience in the best possible sense, punctuating by a giddily mean-spirited and pitch-perfect ending. Like an unholy amalgamation of Michael…
House of Darkness absolutely butchers its attempt at a female empowerment tale, landing somewhere between overtly offensive and appallingly stupid. It’s feast or famine when it…
One of the most enjoyable films presented in this year’s Crossroads Festival is also one of the shortest. In Object Permanence, Alix Blevins offers the…
Like the best fiction for young children, the secret to Roald Dahl’s bibliography is its sensory qualities, that it can unlock new pathways in the…
In the first three days that doctors and patients were trapped inside Memorial Medical Center after Hurricane Katrina made landfall, the body count was around…
Dos Estaciones is packed with precise images and lensed with beautiful attention to color and mise en scène, but it fails to satisfactorily develop its ideas.…
When Robert Zemeckis set about making preparations for his adaptation of Jeff Malmberg’s 2010 documentary Marwencol, he was immediately confronted with a potentially project-killing conundrum.…