Nitram is the worst sort of armchair investigation — one that reopens wounds it doesn’t bother to heal. The True History of the Kelly Gang…
Even by their standards, Jean-Pierre and Luc Dardenne’s Tori and Lokita is a relatively to-the-point affair. Set in an unnamed Belgian city, it follows…
Ahed’s Knee is an expressionistic work of subjective ruptures and discontinuities that attempts to give complete satisfaction to human reason. If Nadav Lapid is a…
There’s an appealing, lulling rhythm to Kogonada’s second feature, but few of its philosophical inquires are met with worthy responses. There is much to…
Fabian bears perhaps a thin thesis, but Graf remains a sly evangelist for and director of the dignity of disorder. Early on in Fabian:…
Erudite and playful and moving, The Worst Person in the World is brimming with ideas and feeling, and executed with the touch of a master storyteller.…
Introduction bears a fitting title, as it feels like something distinctly new within Hong’s self-reflexive oeuvre. It’s somewhat reductive to observe that Hong Sang-soo,…
Belle as a leaden mess of abject sentimentality and perfunctory technological tedium. If there’s anything to be gleaned from Belle, it’s this: Mamoru Hosoda…
Memoria is another masterwork from Apichatpong Weerasethakul, a slow unfurling of personal and nationals pasts that challenges and entrances in equal measure. Frequent In Review…
The moving Parallel Mothers puts on full display Almodovar’s facility with wrangling the controlled chaos of narrative into a coherent whole. If Pedro Almodóvar’s pandemic…
Licorice Pizza continues Anderson’s interest in how personal histories are assimilated into myth, and largely does so compellingly, but ultimately still feels more lopsided than…
Dumont’s recent shift into outright absurdity and his exuberant mistrust of form is most thrillingly realized in France, and particularly in Seydoux’s remarkable performance.…
Red Rocket is an intentionally bad vibes experience, and while the film’s messaging is resolutely simplistic, it’s all kept afloat by Simon Rex’s year’s-best performance.…
Benedetta is as bawdy as any Verhoeven on paper, but the director’s uncharacteristically meek directorial approach renders the film far tamer than it should…
Drive My Car is the latest proof that Ryusuke Hamaguchi is thinking much bigger than most of his contemporaries. Ryusuke Hamaguchi has fast become one…
C’mon C’mon is a distinctly inauthentic, contrived viewing experience more likely to have viewers chanting “go away, go away.” Next only to dead wives, doomed…
The Power of the Dog gains considerable power in its back half, but Campion ultimately leaves too much simply twist in the wind. The narrative…
Bad Luck Banging borders on the didactic, but smartly allows its archetypes to conflate and contradict, turning its sketchbook designs into a platform for…