Drive My Car Ryusuke Hamaguchi has fast become one of the more dependable filmmaker’s regularly working the international festival circuit, ever since he broke big at Locarno in 2015 with the sprawling, ornately plotted…
Settlers offers neither genre thrills nor any real interrogation of the material’s potentially rich subtext. Part sci-fi thriller, part western, part survivalist drama, Wyatt Rockefeller’s Settlers has a lot of familiar genre antecedents, but not…
Brian De Palma is the great voyeur, the plump-bellied pervert, of American cinema. His films have a singularly sleazy feel, gloriously gaudy and admirable in their ribald ridiculousness. Consider the high school girls shot…
Ailey ably captures and reflects its eponymous subject’s abiding vision: art’s capacity as a universal language. On December 4, 1988, dancer-choreographer Alvin Ailey received the Kennedy Center Honor in recognition of his contributions to…
Deception A long pursued passion project, Arnaud Desplechin’s latest picture adapts Philip Roth’s 1990 slippery, erotic novel, Deception, into cinematic form for the first time. The late Jewish-American writer’s work has defined the contemporary…
Tyler, the Creator Let’s first address what Call Me If You Get Lost isn’t. It isn’t a mixtape — though the instant shouting from DJ Drama throughout might have you thinking otherwise — or…
Air Conditioner is a beautiful, thoughtful work of easygoing charm and surprising intellect. As far as cinematic representations of heat go, Ernest Dickerson’s work on Do the Right Thing remains undefeated, with its yellow tint…
Mandibles is a profoundly audacious film, moronic and masterful in equal measure. Perhaps the most unbefitting title to arrive in the middle of a global pandemic, Quentin Dupieux’s Mandibles defies the current for two reasons.…
Miller is a talent to watch, but Joe Bell is profoundly tone-deaf, little more than queer cinema for straight people. Joe Bell is the kind of movie that seems designed to make straight people feel…
Onoda, 10,000 Nights in the Jungle Every pronouncement that points to a Second Coming ruptures the human sense of linear temporal experience, pulling one out of the unending succession of days epitomized by Macbeth’s…
How It Ends is the kind of pandemic-shot film that fails to capitalize on the novelty of its creation’s circumstance. New indie comedy How It Ends prides itself on the fact that it was…
Eyimofe is yet another sub work sliding in neatly under the exhausted moniker of European art house. Imagine, ever so briefly, that you’re actually in attendance at the Berlin Film Festival and not just…
