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…
Red Rocket It’s been far too long since we’ve been graced with a legitimate performance from Simon Rex a.k.a Dirt Nasty, the most esteemed white…
No Time to Die is a gorgeous entry in the Bond canon, but abysmally paced and expository to a fault. After 15 years, Daniel Craig’s run…
In Ste. Anne, Rhayne Vermette strives to imbue narrative filmmaking with as much tangible texture as possible, even if that means freely disrupting said narrative…
Venom: Let There Be Carnage successfully course-corrects from the original, delivering a deeply funny and deeply human film that ranks among the best recent comic…
Bingo Hell is at least a horror film unlike last year’s Amazon/Blumhouse offerings, but is too full of questionable craftsmanship and hollow messaging to recommend. The…
Titane admirably reconciles opposites and piles on texture and sensation, but ultimately reveals itself far too content to trade only in cliché. What is the role…
Old Henry is about as dusty and unoriginal as westerns come. Writer-director Potsy Ponciroli’s Old Henry dares to go where nearly every Western in the history…
How does one condense over five decades of history into the limited duration of two hours? By making a hacky, talking-head documentary, obviously. But before…
The Tragedy of Macbeth The Coens excel in films that flaunt a superficial mastery of genre, form, and cinematic grammar, all to arrive at intentionally…
Coming Home in the Dark isn’t breaking new ground and its ending is a bit too tidy, but it’s a film that feels genuinely dangerous for…