France Bruno Dumont’s monumentally titled France takes the director’s search for spiritual transcendence amidst everyday violence into a new zone of satiric melodrama. Having…
The Works and Days is a gargantuan feat, one that ruminates on life’s impermanence and rewards viewers willing to spend time in its company.…
The final Fear Street entry is something of a mixed bag, thriving in its eponymous past setting but floundering a bit as the series…
Space Jam 2 musters an engaging mid-film stretch, but it ultimately sinks under the weight of its overbearing corporate IP. Warner Brothers did their…
Gunpowder Milkshake is a dog of a film, utterly derivative and lacking in any recommendable action spectacle. Take the weird mythology of the Johns Wick,…
In Hong Kong’s tropical humidity, where sweltering bodies cram around mahjong tables or hunch over noodle stands, how can two people in a forbidden…
Escape Room: Tournament of Champions rides the same strengths of the original, resulting in a film that is a bit spare but still a feat…
Jacquot’s latest sticks to the directors strengths, mining poignancy from the inexplicable and beauteous. As erratic and eccentric as any new film by Benoît…
Die in a Gunfight isn’t the worst Romeo and Juliet adaptation on record, but it’s certainly not a good one. The last thing the…
The dull and ethically dubious Mama Weed fails to live up to the gonzo promise of its title. With a premise and (English language) title…
Meander is a dull and derivative dud that fails to deliver the requisite thrills or kills demanded of its genre. On a desolate stretch of…
One of the more consistently interesting young(ish) actors working in international cinema, Louis Garrel has also spent the last decade working at a less…
The Tsugua Diaries The Tsugua Diaries would be considered quite the swing for most any other director, but for Miguel Gomes, here partnered with…
Director Vincent Le Port co-founded French production company Stank in 2013, through which he has managed to put out a handful of shorts including…
A film of casually assured artistry and superficial topicality, Noémie Merlant’s feature debut Mi Iubita, Mon Amour is something of an archetypal French festival…
The Call’s throwback vibes don’t do much to add to its predictable style and lack of notable scares. Arriving on the heels of the…
Each one of Apichatpong Weerasethakul’s films is a series of echoes and recurrences, palimpsests of what has preceded and teasing forebears of what’s to…
The Holocaust has provided the backdrop for so many films that it’s a rather bracing experience to discover one that handles the subject and…