Wolfwalkers doesn’t do much to upset its fable template but thrives on the strength of its complex and gorgeous animation. The final film in Tomm…
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,…
American Utopia provides a brief respite from reality and leaves the viewer hopeful for what’s to come. In the midst of the annus horribilis…
Late career Adam Sandler thrives within Netflix’s low stakes, and Hubie Halloween is his most buoyant effort yet. For the better part of a decade, most…
Garrett Bradley opts for vague generality rather than the specific and personal, robbing Time of some of its implicit power. From the western to the…
Swanberg’s latest represents a savvy and mature return to his early-career mode of filmmaking. Fifteen years after his first feature, Joe Swanberg is back…
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…
She Dies Tomorrow is a fever-dreamy reflection of modern existential anxieties. Rodney Ascher’s 2015 documentary The Nightmare follows multiple subjects that have experienced bouts of sleep…
Lewis Klahr’s latest example of collage cinema is his most explicitly political, and perhaps creative, yet. Over several decades of consistent output, collage artist…
The Wolf House is a darkly magical fairy tale of arthouse cinema. To describe a film as magical may be a usually empty judgment,…
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…
Beanpole is a rending vision of aftermath, conjuring moments of real beauty from misery. War films have been with us as long as film has…