A Love Song has a rustic, unadorned quality that is easy to appreciate, but its calculated modesty only does so much to distinguish it…
The Nan Movie aspires to recreate old sensations, but spills out as a shadow of its former self. Whither, the British comedy? Once, this…
My Donkey, My Lover & I might trade too liberally in cliché, but its escapist texture, palpable charm, and refusal to give in to…
The Gray Man is an unforgivably bland and phoned-in actioner defined by digital smearing and toothless character work. It’s a little disingenuous to describe a…
The Mole Song: Final The Mole Song: Final is the third and, well, final part of Takashi Miike’s Mole Song series about an undercover…
Though its thematic threads begin to fray, Moloch remains a tantalizing evocation in primal fear that explores the allure behind myth and symbol. Idolatry has remained…
The Killer is a shallow retread of already shallow ground and sunk by the blank slate of a “hero” at its core. As he did…
Nope is undeniably ambitious and cribs from the best, but its determined obliqueness and prioritizing of subtext over genre thrills make for a rather sluggish…
The Wheel isn’t always a smooth ride, but it ultimately clicks into place in its affecting final stretch. When contemplating filmmakers who would attempt…
Anything’s Possible is a well-intentioned film that is unfortunately undone by its shallow lip service and artless execution. Amazon’s new teen romance Anything’s Possible…
Where the Crawdads Sing is a soggy, laughably self-serious mess that isn’t able to calibrate its particular wavelength of melodrama. Based on the wildly popular…
Anonymous Club takes on a similar emotional shape to Barnett’s music, but largely fails to capture the same level of nuanced artistry. Danny Cohen’s Anonymous…
The Deer King is beautiful to look at and occasionally charming, but its underdeveloped plot gets in the way of any pleasures and makes for…
Gone in the Night is a slog undone by its own structural conceit, confining its compelling material to flashbacks and riding a wave of dull…
American Carnage is harmlessly fun and occasionally intriguing in its provocations, but it’s all predicated too closely on overly familiar touchstones. What’s the ideal…
Marx Can Wait is a beautiful late work from an artist still pushing the limits of his self-exploration. One of the great canonical directors…
Good Madam is elevated, theme-heavy horror done right, delicately refracting its discursive concerns through the lens of a haunted house tale. The lingering consequences…
Earwig is a welcome return for Hadžihalilović, but not a terribly memorable one, its more striking images and narrative subversions disempowered in their servitude…