The Human Voice is a recent high water mark for Almodóvar, a masterful exercise in depicting both interior and exterior surfaces. In the late 1920s, the…
It seems nearly impossible that there’s anyone in the world who isn’t familiar with Tom and Jerry — or, at least, doesn’t recognize them. In…
Taking new shape this year, the Berlinale kicks off today in its virtual version, running for the rest of this week before hibernating until June…
The World’s a Little Blurry has plenty for die-hards to like and is welcomingly relaxed, but ultimately remains a pro forma exercise with little to recommend…
Cherry is a cartoonish failure of imagination, technique, and performance. Joe and Anthony Russo, the producer/directors who found themselves at the helm of the biggest studio…
Always and Forever is stretched a little thin and relies on too much filler, but remains a charming teenage rom-com and gracefully ends the trilogy. In…
The Father can veer into indulgence, but largely works as a nuanced, compassionate portrait of aging’s ravages. Like the captain of his soul, Anthony — played…
Un film dramatique is a well-intentioned study, but falls into something of a paternalistic trap in presentation. In general, films about childhood, pedagogy and learning…
Crisis is an overblown and unfocused bit of pap that fails dramatically, intellectually, and rhetorically. Armie Hammer’s very public current controversies are probably the only reason…
Night of the Kings thrives on both its powerful sense of artifice and brutal reality. Storytelling is at the crux of Philippe Lacôte’s entrancing sophomore feature,…
The Obituary of Tunde Johnson squanders its opportunity to use a time-loop gimmick to meaningfully engage with bigger ideas. Early in The Obituary of Tunde Johnson,…
The Vigil isn’t without its minor grievances, but its willingness to navigate new horror territory is most welcome. Since the birth of the horror genre, especially…
A Ghost Waits is a slight but impressive calling card of a film boasting two genuinely notable performances. An oddball, micro-budget supernatural rom-com, Adam Stovall’s A…
The United States vs. Billie Holiday is a tonal misfire that fails to ever find the fascinating, complex story at its core. Lee Daniels has…
Curtis fans will know what they’re in for, as the director explores familiar themes, expertly utilizes archival footage, and drops needles to exhilarating, depressing effect.…
Sator is a distinctive, genuinely novel and unsettling contribution to the horror genre. Made almost entirely by one person — writer/director/producer Jordan Graham also built his…
The Mimic is nothing more than an maddening ego flex that is far too confident in its own “brilliance.” The Mimic, from writer-director Thomas F. Mazziotti,…
Cowboys abandons nuance and meaningful exploration in favor of cheap sentimentalism and easy moralizing. Queer cinema has always (unfairly) had to walk a very fine line.…
Burn It All is a bona fide bit of exploitation trash, legitimately awful but enthralling in its sheer ineptitude. Contrary to popular belief, exploitation films are…
Body Brokers is littered with fascinating parts, but never manages to pull it all together into a cohesive vision. There are at least four different movies…
I Blame Society is a cutting antihero showcase for director-star Gillian Wallace Horvat. Wickedly funny and sharp enough to draw blood, I Blame Society is the…