Shin Ultraman In 2016, mad genius Anno Hideaki took time off from his twenty-year-long project of remixing, remaking, revising, and reinterpreting his classic anime TV…
Edward Yang’s 1986 film Terrorizers is an opaque, elliptical portrait of overwhelming ennui in a then modern-day Taipei, and one of the earliest examples of…
Jeong Ga-young has spent the past several years carving out a space for herself on the fringes of the international festival circuit with films like…
Nounen Rena (Credited as Non) returns with her sophomore feature, writing, directing, and starring in Ribbon, a coming-of-age, Covid-set communion with the precipitate anxieties that…
Taiwanese-American filmmaker Arvin Chen’s previous two features, Au Revoir Taipei (2010) and Will You Still Love Me Tomorrow (2013), are light, bubbly, visually vibrant variations…
The Wheel isn’t always a smooth ride, but it ultimately clicks into place in its affecting final stretch. When contemplating filmmakers who would attempt to…
Anything’s Possible is a well-intentioned film that is unfortunately undone by its shallow lip service and artless execution. Amazon’s new teen romance Anything’s Possible is…
There’s a wistful touch of George Bailey to the fatefully doomed protagonist of The Executioner (El Verdugo): José Luis is a Spanish undertaker yearning to…
Where the Crawdads Sing is a soggy, laughably self-serious mess that isn’t able to calibrate its particular wavelength of melodrama. Based on the wildly popular 2018…
Anonymous Club takes on a similar emotional shape to Barnett’s music, but largely fails to capture the same level of nuanced artistry. Danny Cohen’s Anonymous Club…
The Deer King is beautiful to look at and occasionally charming, but its underdeveloped plot gets in the way of any pleasures and makes for an…
Gone in the Night is a slog undone by its own structural conceit, confining its compelling material to flashbacks and riding a wave of dull inertia…
American Carnage is harmlessly fun and occasionally intriguing in its provocations, but it’s all predicated too closely on overly familiar touchstones. What’s the ideal framework…
Marx Can Wait is a beautiful late work from an artist still pushing the limits of his self-exploration. One of the great canonical directors of…
Good Madam is elevated, theme-heavy horror done right, delicately refracting its discursive concerns through the lens of a haunted house tale. The lingering consequences of…
Earwig is a welcome return for Hadžihalilović, but not a terribly memorable one, its more striking images and narrative subversions disempowered in their servitude to…
She Will offers plenty of appealing phantasmagoria, but skews too indulgent with its visual design and often upsets its rhythms with a need to preach. For…
Queen of Glory lives in its details, layering myriad cultural specificities and carefully crafting interpersonal dynamics in what amounts to a modest but moving film. Sarah…
Glasshouse is a heady, challenging treatise on the nature of memory, its rippling interpersonal effects, and ultimately a horrifying study in survival of the fittest.…
Perhaps the preeminent film festival in the minds of genre aficionados, Fantasia Fest is back in 2022 at arguably the peak of its popularity, coming…