In a bleak, post-Trump reality wherein nationalist hogwash has pervaded casual discourse, Yû Irie’s Ninja Girl reflects the kind of right-minded rhetoric that the…
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…
Ninja Girl In a bleak, post-Trump reality wherein nationalist hogwash has pervaded casual discourse, Yû Irie’s Ninja Girl reflects the kind of right-minded rhetoric…
Together is an endurance test for viewers and a self-satisfied pat on the back from the filmmakers. Stephen Daldry has become a bit of a…
The Show is an imperfect beast, but it’s beautiful and horrifying in a way only Alan Moore can concoct. Northampton has always been a strange…
Purple Sea is an arthouse trifle that merely effects the posture of serious cinema. In his 1975 book Notes on the Cinematographer, austere French director…
It’s probably unnecessary to note that Japanese (pop) culture, and more specifically its cinema today, has a sort of very vivid coolness and charm…
Following the release of last year’s Blood Quantum, Rueben Martell’s Don’t Say Its Name is a welcome addition to the still-small genre of Indigenous…
Daniel de la Vega’s On the Third Day, co-written by Alberto Fasce and Gonzalo Ventura, begins with three separate lives intersecting on a dark,…
The Sadness Canadian director Rob Jabbaz shot The Sadness, his debut feature, in Taiwan, with a fully Taiwanese cast and script that draws in…
Isabella is another bold effort from Piñeiro, and a indication of the direction his particular art is headed. Isabella, the latest feature from Argentine…
Lily Topples the World is a visually spectacular documentary, one with the added benefit of ready cleverness in supply. Joining the ranks of Netflix’s…
Kelly Reichardt’s 2006 film Old Joy has been on my mind of late, a fact that I initially attributed to some combination of nostalgia…
499 boasts legitimate emotional weight, but undercuts its power with too much heavy-handed symbolism. Almost five centuries after the Spanish invasion of Mexico, a…
No Man of God works surprisingly well for a while, but fails to stick its schlocky landing. On the day before the official premiere…
In its opening moments, The Fable: The Killer Who Doesn’t Kill immediately establishes what Akira Sato (Junichi Okada), the assassin FKA Fable, can do…
The debut feature of New York-based filmmaker Oudai Kojima, Joint takes the structure of a rise-and-fall gangster picture and tries to imbue it with…
A tepid sense of familiarity sets in while watching Glenn Chan’s feature debut Shadows. From its cold-open introductory murder to the perfunctory psychiatrist on…