Ted K takes a potentially fascinating study and reduces it to a series of madman tropes and Wikipedia summarizing. The name Theodore Kaczynski has, for better…
Strawberry Mansion is a vision still worth experiencing, even as its muddled with an ill-considered screenplay rife with tired twee tropes. In 2017, Kentucker Audley and…
Musicals have never exactly been the easiest genre of film to market. 1969’s magnificent flop Hello, Dolly! put an end to the musical’s life as…
King Knight sets its sight on targets as broad as a barn, but somehow still misses. Writer-director Richard Bates Jr. made a bit of a splash…
The Sky is Everywhere’s YA origins generate too many cringey twee moments here, but there’s no denying Decker’s visual power to elevate the material. Her…
Bigbug is all bug and no feature, an obnoxious, puerile work of catastrophic indulgence from Jean-Pierre Jeunet. Much has been made of the fact that,…
On the set of 1946’s Duel in the Sun, King Vidor was constantly assailed by a positively megalomaniacal David O. Selznick, who extrapolated new subplots…
Marry Me isn’t even worth a second date. New romantic comedy Marry Me marks a reunion for stars Jennifer Lopez and Owen Wilson, both of whom…
I Want You Back is a pleasantly askew rom-com, acidic on the edges and reveling in the distinct comedic style of its leads. There was a…
Blacklight is a low point in Neeson’s tough-guy thriller canon. At some point in the latest Liam Neeson product Blacklight, our hero, a stoic FBI operator,…
All the Moons is a gorgeous, sorrowful, and achingly sensitive fairy tale. Though it at first looks like a typical, if particularly handsome, period vampire film,…
A Night of Knowing Nothing is a fascinating work of formal and intellectual hybridity. Beautifully dispatched through its entanglement of formal hybridity, Payal Kapadia’s A Night…
Catch the Fair One doesn’t quite pull off its untidy ending, but it’s still an impressive bit of viscerally and emotionally pummeling cinema. Integrating the texture…
Branagh seems more preocuppied with his acting than his directing, but Death on the Nile retains a high enough enjoyment floor according to its playful whodunnit-isms…
Here Before suggests early promise, but ultimately settles into rote psycho-thriller styling and manipulative table-setting. Stacey Gregg’s Here Before has all the markers of a good…
Fabian bears perhaps a thin thesis, but Graf remains a sly evangelist for and director of the dignity of disorder. Early on in Fabian: Going…
Playground is a penetrating, enveloping, and often brutal portrait of childhood. Playground, Laura Wandel’s first feature, is indeed set on an actual playground, but perhaps its…
The Other Me amounts to little more than an empty spectacle banking on David Lynch’s name. Let’s get it out of the way: the most interesting…
There’s some mild fun to be had with Last Looks’ particular soft noir style, but it ultimately registers as a pale imitation of something you’ve seen…
Lingui is a middlebrow arthouse trifle that offends in its simplicity and deference to narrative convenience. Lingui, The Sacred Bonds, the latest from Chadian director Mahamat-Saleh…