Port Authority boasts a thoughtful, intimate texture, but somewhat betrays its material in its character perspective. Going into Port Authority, two outcomes feel equally likely:…
Cruella begins from a stupid premise and proceeds to do little more than inspire product development and contribute to the Dalmatians Easter egg canon. A…
Skull: The Mask indulges in unnecessary table-setting, but once it gets to the good stuff, it’s a throwback, labor-of-love gore fest. There’s a charmingly roughshod, handmade…
Moby Doc is an absurd vanity project, proving Moby is less a fun meme and more an insufferable dope. Moby is, by most accounts, something of…
Jia’s latest is a didactic, propogandist exercise, and something of a punctuating about-face from his best work. In a 2003 essay, Jia Zhangke — now…
Little of the personality or energy of Barrett’s scriptwork is on display in Seance, a drab, generic horror dud. Since 2010’s A Horrible Way to…
A Quiet Place Part II succeeds in much the same way as the original — as a sturdy, thoughtful, and understated exercise in genre. Box-office success…
Final Account is not just a reckoning with history, but with its present lingering, executed with uncompromising force and first-hand immediacy. Released after the death of…
Still Processing is a work of profound emotional catharsis that suggests even greater formal heights on Romvari’s horizon. Occupying a well-deserved place on TIFF’s Short Cuts…
Not everything works in Sound of Violence, but its effective balancing act of authenticity and go-for-broke bonkers keeps things singing. Writer/director Alex Noyer intends the title…
The best way to understand the character of Euros Lyn’s Dream Horse is as the type of film your mother describes as “sweet” and insists…
The Dry perhaps ends too tidily, but it remains a welcomingly straightforward and visceral thriller that plays fair with its audience. Robert Connolly’s The Dry begins with…
Death Will Come is somewhat hampered by its abbreviated runtime and odd asides, but remains a moving document of love and living in the shadow of…
Riders of Justice finds director Jensen hedging between the dank feels of his early scriptwork and the weirdo vibes of his later directorial output, to mixed…
Both politically and aesthetically, New Order is an ironic and troubling proclamation of solidarity with the old, regressive guard. The refinement of taste, an ongoing exploration of…
Spring Blossom feels under-realized on the whole, but at least introduces a distinct authorial voice worth following. Part of the official selection at this year’s Cannes…
All cinematic technique that makes Snyder a fanboy favorite feels sorely missing in the bloated, ugly Army of the Dead. Recovering from what must have…
The Woman in the Window neither takes advantage of its unique setting nor matches the nuance of its Rear Window inspiration, rendering the whole thing fairly empty-headed.…
Those Who Wish Me Dead is eminently watchable and rife with brutal genre spectacle, but never quite manages the depth of Sheridan’s prior work. In a…
Dope is Death is a vital contribution to the ongoing re-evaluation of the black liberation movement and a welcome antidote to conventional neoliberal pap. Given the…
Georgetown isn’t the worst actor-turned-director debut feature, but it is a drab, superficial affair with little to distinguish it. Since coming to the attention of American…