Ammonite struggles to summon the visceral potency or emotional depth needed to tell its story. Three years on from Francis Lee’s terrific gay drama, God’s…
Fatman remains a bleak bit of dark holiday fun even as it fails to seize on its more potent genre possibilities. Somebody deserves proper…
Unlike Wiseman’s typically nuanced, curious documentary treatments, City Hall doesn’t have much to offer beyond standard homage to contemporary liberalism. What Frederick Wiseman does,…
Martin Eden is a subtle and complex character study of one man’s ideological tempest. Martin Eden — a character first created by Jack London, in…
The Projectionist is a lovely elegy for the glory days of film exhibition, one that 2020 has brought into surprising focus. Since getting clean a…
Kajillionaire is both July’s most restrained and most maudlin work to date There’s no denying that Miranda July’s particular idiosyncrasy shares DNA with a number…
The Nest is a deeply obvious, under-cooked attempt at horror-flecked domestic portraiture. The Nest, writer-director Sean Durkin’s long-awaited follow-up to his remarkably assured debut feature,…
Sibyl is a film that feels richer at the margins than at the center, largely by design and to its credit. Victoria, Justine Triet’s last film,…
Nomad is a passionate and heartfelt work, but Herzog’s foregrounded presence sometimes distracts from film’s more mystical ambitions. In January 1989, the legendary British adventurer,…
Iannucci’s latest isn’t quite a natural fit for the director, but he still mostly succeeds by injecting his trademark levity into the spirited core…
Almereyda’s Experimenter-style mode is not as organic of a fit for the often compelling but ultimately overburdened Tesla. Having risen to renewed prominence on the…
Hirokazu Kore-eda feels distinctly uninterested in his own material here, a sentiment sure to be echoed by audiences. Japanese filmmaker Hirokazu Kore-eda has consistently shown an…
The director’s latest work is built on quiet moments of spiritual and professional reflection, a Fellini-esque inward gaze at the artist and his art.…
Liberté is gorgeous and confounding, a Brechtian presentation of passion, tedium and perversion. Albert Serra’s Liberté continues the director’s penchant for placing human rot, literal and…
Kelly Reichardt’s latest treads familiar thematic territory, but her minimalist leanings here lend toward something altogether more expansive. First Cow is a film of…
Bacurau’s initial promise of a raucous genre celebration ultimately devolves into a shallow approximation of those pleasures. There’s an undeniable sensuousness to the surfaces…
The Wild Goose Lake is a thrilling neon noir and incisive commentary on the degradation that comes with rapid economic boon. There’s a particularly pleasing…
The Whistlers makes the most of its basic parts, tying some nifty knots and glossing up proceedings, but it fails to offer anything memorable. Corneliu…