Did you like the first Deadpool? Its constant allegedly clever meta-references? The look-how-edgy-this-is shock humor? The graphic violence? Deadpool 2 has more of those things,…
Too often Hollywood wants to project the idea of motherhood as an innately beautiful thing, all soft lighting and angelic babies cooing at their…
Discovering Sara Driver’s No Wave narratives You Are Not I and Sleepwalk during an Anthology Film Archives retrospective of her work several years ago…
As InRO’s Lawrence Garcia put it, the best thing about film festivals is seeing something that will completely surprise you — and he and I…
Now that the dust has settled and the hype machine has moved on to newer, bigger spectacles, let’s examine the reception of Steven Spielberg’s…
Michel Hazanavicius has somehow made a relatively successful career out of feebly imitating established genre tropes or broadly recreating old forms of filmmaking, with The Artist…
If Jeannette: The Childhood of Joan of Arc doesn’t scale the insurmountable heights of St. Joan films by Dreyer or Bresson, it’s for Bruno…
In transmuting the true-life story of rodeo star Brady Jandreau into the sort-of-fictionalized The Rider, director Chloé Zhao uses low-key character and narrative detail…
Pedro Pinho’s The Nothing Factory is a Marxist, near three-hour Portuguese drama about labor in a capitalist society. That description might make the film (which took…
If directors João Miller Guerra and Filipa Reis have accomplished anything through their expansion of the world of their previous documentary’s subject — the Cape Verde-born, Portuguese-based Miguel…
The 47th edition of New Directors/New Films runs from Wednesday, March 28th, to Sunday, April 8th. For our final dispatch: a new feature from the co-director of Beyonce’s Lemonade film…
Above all else, Andrew Haigh has proven himself a deeply empathic artist; whether tackling 21st century queer identity (Looking, Weekend) or the devolution of a decades-long…
The opening of of A Quiet Place leaves you primed for an arthouse-inflected genre film, like something A24 would release, or that Alex Garland might direct.…
Ben Russell, previously known for travelogues and semi-ethnographic hallucinatory trips, plays his latest feature straight: Good Luck is a good deal longer than most of his previous films,…
It’s often a fool’s errand to go searching for themes in a given festival program, but if there’s a common thread running through Future // Present,…
The 47th edition of New Directors/New Films runs from Wednesday, March 28th, to Sunday, April 8th. For our first of two dispatches from the festival, we look at the FIPRESCI…
Aaron Katz’s glossy, very surface-conscious mystery opens in high style with an upside-down shot of twilit palm trees, cool vaporwave beats easing the transition…
“Meta” inadequately describes the interlacing literary and cinematic references, stories-within-stories, digressions, subplots and general convolution that comprises Arnaud Desplechin’s Ismael’s Ghosts, a dense and appealingly…