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…
Moonfall is big, dumb, exuberant fun and a welcome blockbuster-sized tonic from the endless IP regurgitation clogging theaters. Who’s ready for another disasterpiece from the…
Like so much recent horror, Slapface relies too heavily on soft metaphor, but there’s sufficient talent here to still keep things interesting. Jeremiah Kipp’s Slapface…
Framing Agnes — the second feature-length documentary directed by Chase Joynt, who also co-directed No Ordinary Man (2020) — lays the vast bulk of its…
Perhaps because artists are so often misfits, unable to easily fit in to the normal currents of society, the slacker remains one of cinema’s enduring…