Halloween Kills is a smug bit of a ill-advised fan service with dull kills, sanctimonious plot beats, and little narrative progression. David Gordon Green’s 2018 take…
Broadcast Signal Intrusion is built on used parts, but Gentry executes his vision with queasy dread and necessary ambiguity. Working late nights transferring tapes of old…
André De Toth is one of the great, unsung directors of Hollywood’s Golden Age. As Fred Camper noted in a 1997 essay bemoaning his lack…
The Last Duel is another win for Scott, an agreeably brutal, wickedly incisive tale that is considerably more substantive than mere Rashomon comps. Blending his lavish but…
In a late scene in Chameleon Street, Wendell B. Harris, Jr.’s 1990 film, an astonishingly brilliant and wickedly comedic interrogation of American racism’s corrosive effects…
Parallel Mothers If Pedro Almodóvar’s pandemic short The Human Voice hinted at a freshly energized director liberated from the burden of expectations, then his latest…
The Velvet Underground proves an interesting resting place for a litany of period detritus, but stumbles when foregrounding its titular subjects. Todd Haynes, a noted semiotician,…
After Asako I & II, Hamaguchi’s latest can’t help but feel like something of a step backward into less aesthetically daring filmmaking. “Once Again”, the third…
“I’m sorry if I doubted your good heart / Things always seem to end before they start.” A ruefully apologetic Lou Reed sings these words…
The French Dispatch For better or for worse, there are few working American auteurs whose visual stamps are as broadly and immediately recognizable as Wes…
Bergman Island is an intentionally ephemeral, frictionless bit of meta-fiction, conceptually justifiable but all the more frustrating for it. Mia Hansen-Løve’s Bergman Island is, quite literally,…
The Blazing World is a disarmingly charmless and amateurish series of indie genre check-boxes that amounts to a whole lot of nothing. With horror films in…
Madres hardly justifies the whole Blumhouse/Amazon deal, but it’s at least the best of the eight films that have come courtesy of it. Director Ryan Zaragoza’s Madres is…
The Manor isn’t necessarily a good film, but it’s a fun enough lite-horror outing that reflects an improvement from the Blumhouse/Amazon team-up. The law of averages…
Diana: The Musical is a tacky and tactless propanada mission that subverts its own fun flashiness with remarkable bad taste. When I was thirteen, I was…
Suzanna Andler seems to spawn from a place of loving tribute, but it does little to contribute new insight or appreciation. During her lifetime, Marguerite Duras…
V/H/S/94 isn’t entirely successful, but it marks an upswing for the anthology franchise from its last entry. The first V/H/S film was a novelty, a throwback to…
The Rescue is a moving work a immersion and stitch-work, crafting an empathetic documentary from its headline-grabbing story. Elizabeth Chai Vasarhelyi and Jimmy Chin have a…
The Many Saints of Newark is an affectionate but utterly empty and unnecessary return to the world of Tony Soprano. It always going to be a…
Black as Night is a remarkably dull vampire flick riddled with awful centrist politics. Part of the second wave of Blumhouse castoffs that have been repackaged…