Catherine Called Birdy features a pleasant, tuned-in script from Dunham, but the whole project is undermined by an unfortunate lack of aesthetic character. Her…
The Night is another minutiae-oriented short from Tsai, meaning found in the details of its mini symphony of Hong Kong. Following up, as it…
My Imaginary Country finds Guzmán contending with nostalgia for perhaps the first time, and the resultant film isn’t quite sure how to handle this…
The Banshees of Inisherin They aren’t having a row — Colm (Brendan Gleeson) just doesn’t feel like talking to his best friend Pádraic (Colin…
The well-intentioned On the Come Up wants to challenge audiences, but can’t overcome a wholly inauthentic and sanitized presentation of its material. After Rosie Thomas shot…
The Justice of Bunny King struggles with tonal missteps throughout, but rallies for an enthralling third act that unveils new layers of ambiguity. Who exactly…
Petrov’s Flu is an entirely maximalist formal exercise, one boasting a technical bravura that will impress as many as it puts off. A smoker’s cough…
Dry Ground Burning Documentaries don’t get much more hybrid than Dry Ground Burning, the new film from Adirley Queirós and Joana Pimenta. It’s a…
Casablanca Beats boasts some technical rap prowess, but its narrative fails to develop any depth and the film suffers from a banal and maudlin ending. …
Winter Boy Those about to eulogize reach for poetry; for anyone, mourning periods commingle, confuse, and unpredictably change one’s experience of time. But in…
The Whale Although The Whale is an adaptation of the 2012 stage play by MacArthur Fellowship-winner Samuel D. Hunter, the film tends to feel…
Pearl doesn’t indulge the same genre thrills as X, but it does deliver an idiosyncratic, bloody little chamber piece that succeeds in a different but undeniable…
The Silent Twins flattens any psychological depth found in its characters and suffers from a directorial style mismatched to the content at hand. The…
Glass Onion Rian Johnson’s latest stab at Wes Anderson-does-Clue has a lesser cast, a more pandering script, and a wholly phony “Eat the Rich”…
Confess, Fletch isn’t attempting much, but it lands as an amiable bit of diet-Soderbergh primed for a low-key weekend binge. We all complain about what…
2022’s Goodnight Mommy fails to find and replicate the nuance of the original, delivering only shallow ugliness in its stead. Actress Naomi Watts is…
The Woman King flattens its feminist appeal into Disney-fied girlboss energy and executes what’s left of its vision in both conventional and calculated ways. What’s…
Do Revenge is over-the-top but toothless, sorely lacking any genuine bite and trading in paper-thin social commentary. Director Jennifer Kaytin Robinson (Someone Great) would…