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. Casablanca…
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 Christophe…
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 of…
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 way.…
The Silent Twins flattens any psychological depth found in its characters and suffers from a directorial style mismatched to the content at hand. The story…
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” political…
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 movies…
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 no…
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 one…
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 have…
Drifting Home can be plagued by its narrative convention and visual monotony, but it’s also a charming portrait of emerging adolescence that will please plenty of…
The African Desperate is a fascinating, assured debut anchored by a star-making turn from Stingily and Syms’ confident formalism. The first few minutes of Martine Syms’ The African…
The Fabelmans Damn near every Steven Spielberg movie, in one sense or another, is about the power and the madness of making movies. So that…
Clerks III is a fans-only venture that’s sunk by a childishness devoid of wonder and poignant moments consistently undermined by self-mockery. In Arthur Penn’s 1967 Bonnie…
See How They Run is an amiable, nerdy romp that draws upon theater history, Agatha Christie, and even Wes Anderson to create a jaunty exercise in…
Riotsville, USA traces an alternate history on top of official record and crafts an incisive examination that is as hypnotic as it is fervent. It’s almost…
Padre Pio Disclaimer: It’s important to acknowledge the severity of the accusations of abuse made against both Shia LaBeouf and Asia Argento, and clarify that…
Brahmāstra Part One: Shiva is a soulless mega-franchise starter that does very little of interest with its massive budget. Chances are, you already know what…
It can sometimes feel that Hold Me Tight coasts by on mood alone, but Amalric maximizes that mode, orchestrating his film’s disorienting tone with virtuosic…
God’s Country is an arrogant and painfully writerly project that is only occasionally uplifted on the strength of its visual flourish. A classic sort of…
Sandwiched in the middle of the late-summer/early-autumn run of major international film festivals, coming on the heels of Locarno, Venice, and Telluride and immediately before…