Another in a long line of recent horror entries chronicling an everyday individual possessed by an evil entity, The Dead Center sparks initial interest simply…
The Lighthouse is, in some ways, the last film we need right now. A male-centric chamber piece, Robert Eggers’s latest revels in the grotesqueries of guydom: farts, hooch, and…
Ira Sachs’ Frankie is a film of bourgeois comforts. Set in summery Sintra, it offers any number of picturesque views of the Portuguese town, which…
Synonyms is a film driven by an idea, one that rattles around in its protagonist’s head and belabors him at every step. The question is one…
You would be forgiven for thinking that director Michael Beach Nichols’ Wrinkles the Clown is yet another horror film capitalizing on the current coulrophobia craze,…
A barrage of cuts set to the metronome of a ticking clock fragments the daily routine in and around a meat market in the opening…
Scott Aukerman’s Between Two Ferns: The Movie barely qualifies as a movie, in much the same way that Between Two Ferns barely qualifies as a…
Situated in a tent camp within Lebanon’s Beqaa Valley, Bitter Bread follows a number of Syrian refugees, separated from their homes by war and snow-capped…
Although it’s ostensibly science-fiction, The Tree House is a film grounded in the past, present and future — or perhaps it occupies the gaps in…
For the past 55 years, Michael Apted has embarked on a project that is both a landmark documentary film series and the ultimate reality TV…
Our third and final dispatch from the 2019 New York Film Festival is offers a smaller pool of takes but checks off one of the…
Our third and final dispatch from the 2019 BFI London Film Festival is offers thoughts on one of the upcoming awards season’s biggest players —…
Following the success of Ilo Ilo, which won the Camera d’Or at Cannes in 2013, Anthony Chen has made a significant comeback with his sophomore…
It’s incredibly difficult for a television show to stick the landing. Long running programs tend to become different things for different viewers, particularly shows that…
After 25 years of failed visual effects testing and bouncing from filmmaker to filmmaker, Gemini Man has finally made it to screens. That time in…
Our second dispatch from the 2019 BFI London Film Festival is heavy on likely awards season contenders — Jojo Rabbit, Ford v Ferrari, and The Two Popes —…
In the aptly-titled Instinct, the one thing that Helina Reijn’s heavy, but hugely rewarding film seems to have a clear view on is that you…
Federico Veiroj’s The Moneychanger is a mess — an overly familiar rise-and-fall narrative that’s been stripped of all meaningful detail and specificity, with a sketchy…
Our second dispatch from the 2019 New York Film Festival is heavy on prestige arthouse fare from early-year festivals, and also takes on a timely…
The scene is set. By arrangement, five wronged strangers convene for dinner at a high-rise apartment in Paris, all with an axe to grind against…