Mad God is a profoundly unique work from Phil Tippett’s frenzied mind, a troubled, personal, and wholly original statement of the aching human heart. More famously…
Stanley Kubrick seems like an odd filmmaker to claim as having underrated films. I’m not as great a fan as most cinephiles, but given the…
There is no defined rubric to be a Bruno Dumont player: the director has spent his career weathering comparisons to Bresson and his predilection for…
Good Luck to You, Leo Grande Good Luck to You, Leo Grande, or so the title of Sophie Hyde’s latest feature goes. It’s a peculiar…
Good Luck to You, Leo Grande is the kind of frictionless non-starter destined to be watched at half-attention. Good Luck to You, Leo Grande, or so…
Family Dinner, Austrian filmmaker Peter Hengl’s feature-length debut, has one insurmountable problem — it hews so closely to the folk-cult horror handbook that anyone who’s…
Natalia Sinelnikova’s We Might As Well Be Dead begins with a bedraggled family slowly traversing a long road through dense forest, a towering high rise…
Tahara isn’t a subtle film — formally or thematically — but it is an exceptionally executed one, striking a impressive balance between emotional realism and…
Lost Illusions is a lush, ravishing work that avoids the lethargy and empty aesthetics of so many literary adaptions and fully embodies the spectacle of…
In 1963, John Wayne was just as much the face of the Western genre as he had been since 1939. The Duke’s charisma, one-size-fits-all philosophy…
Moneyboys looks good to the eye but sees nothing new, regurgitating the more inspired reveries of erotic ennui that directors like Tsai Ming-liang effortlessly dream…
Offseason is an undeniably slick film, but one too encumbered by bad aesthetic impulses and a too-shabby framework. Thirty minutes into Offseason, Marie Aldrich (Jocelin Donahue)…
Jurassic World Dominion is at least better than the franchise’s last entry, but its reliance on legacy callbacks and a miscalculated primary plot thread leaves too…
Arguably the most significant acquitting factor and favored defense for his predominantly libertarian cinema, Clint Eastwood’s tendency toward unashamed self-critique and persona deconstruction has dictated…
The Righteous is a compelling forgery, often beautiful to look at but not nearly as profound as it believes itself to be. The Righteous, the debut…
Clint Eastwood likes inky color patterns, tar-black shadow cutting across battleship grey sterility, and drab, olive-green dress. The actor-director has performed a gradual shift towards…
All My Puny Sorrows builds a striking purgatorial atmosphere that transcends any by-the-number grief narrative, but the film is burdened by an unwieldly and overly verbose…
White Elephant might satiate devoted JVJ fans but will feel warmed-over for other DTV action heads. Even the best filmmakers have a few stumbles in them.…
The white-hot winning streak that Clint Eastwood was on during the mid-’90s constitutes a seldom touched — at least by his own contemporary standards —…
Hustle is middlebrow inspo cinema that fails to channel the best of either Sandler’s juvenalia comedy or his dramatic talent — just one giant cliché…