Mathieu Amalric has inarguably built up a CV of highly visible appearances over the past two decades, so much so that he’s comparable to fellow…
Fourth of July is a clumsy, charmless “comedy” destined to be immediately forgotten about. You have to hand it to Louis C.K.: he may be…
The Unknown Country Non-fiction scenarios and non-professional actors are often characterized as so rich and unpredictable that all a director needs to be is a…
When Jean-Luc Godard launched the experimental Dziga Vertov Group with Jean-Pierre Gorin in 1968, one of their primary concerns involved creating radical texts that eschewed…
Andrew Infante’s Ferny & Luca is a first feature with a lot of places to get to. It briskly orbits around romantic ideas and images,…
Wyrm suffers from an imbalance between its two halves, but is otherwise emotionally astute and earns the surreal world it conjures with careful, deeply considered world-building. …
Cryo hints early on at a future-facing work of exhilarating promise and peril, but is ultimately cloaked in a calcified slab of ice. Barrett Burgin’s Cryo…
Press Play’s mash-up of The Time Machine and The Notebook is plagued by a wet blanket lead, horrid pacing, and a lack of any real romance.…
Dawn Breaks Behind the Eyes doesn’t exactly add up to much, but it’s a viscerally wild ride of psychedelic visuals and ominous vibes for those willing…
The Score offers some conceptual intrigue, but its vitality as a musical is undermined by source material ill-suited to the form. Based on the music of…
The Passenger boasts a duo of capable directors behind the camera, but little beyond the impressive visuals lands with any force. Those looking for a…
OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or…
Hallelujah doesn’t quite strike the right balance between portrait of the artist and myth of the song, but its littered pleasures will likely still be enough…
Beavis and Butthead Do the Universe offers the type of low-stakes low humor that demands little but gives generously to those willing to engage. Beavis and…
The Forgiven doesn’t have any substance or style to elevate its tired tale of how rich people suck. “Rich people behaving badly” has become such an…
Clara Sola is a bold, confrontational work, perhaps a bit too blunt in its symbolism, but carried through by Chinchilla Araya’s raw, enigmatic performance. The debut…
Taking place entirely in the frigid confines of an Antarctic research lab, John Carpenter’s 1982 sci-fi horror masterpiece The Thing makes for exceptionally chilling post-pandemic…
We’s length is felt perhaps a bit too much, but it’s ultimately a visually rich and vigorous film that locates a warm humanity with the…
The Black Phone establishes a new high water mark for masked killer horror, singular and effective in its eerie details even if a bit familiar in…
“…love must be regarded as one of the religious and dangerous experiences, because it lifts people out of the arms of reason and sets them…