Official Competition is a decidedly strange film — formally impressive, off-kilter in its humor, and often incisive with its observations of the state of cinema. If…
Sophia Having established a strong lane for herself somewhere in between narrative and nonfiction filmmaking with her recent run of features, Crystal Moselle stays on…
Within the steadily growing niche genre of Jewish horror, there are two key tales that have a hold over the imagination of filmmakers. With a…
Patrick Bresnan & Ivete Lucas’ documentaries have always gravitated toward the observational, content to let moments unfold in natural manners to reveal some truth about…
Nude Tuesday, it must be said, gets bonus points for creativity. In telling the tale of a long-married couple who attempt to spice up their…
Cha Cha Real Smooth aims to hit viewers squarely in the feels, and even if will be too nicecore for some, Raiff’s brand of earnestness succeeds…
Father of the Bride ticks off the requisite boxes for a film of its ilk, and with some savvy, but its essential shallowness if troubled by…
Brian and Charles is so lightweight as to risk blowing over at any moment, but is also a wholly endearing affair that will charm more viewers…
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)…