There Will Be No More Night is an intelligent, nightmarish portrait of war as first-person shooter and interrogation of how we consume visual information in…
Brighton 4th is but the latest example of festival-facing cinema slipping into anonymity under the weight of overly familiarly elements and arcs. There’s a scene…
Sundown finds Franco up to his usual tricks, offering some appeal in his refusal of convention, but little more. Sort of the self-styled bad boy…
Katz’s film is an understated, elliptical work that speaks volumes in its pointed quietude. Ana Katz’s The Dog Who Wouldn’t Be Quiet appears at…
A Hero is Farhadi’s best work in a minute, still hampered by the director’s anonymous formal style, but otherwise delivering another masterful work of drama.…
The tame, backwards Sex Appeal has very little appeal indeed. New Hulu original Sex Appeal is tailor-made to be watched at sleepovers by undiscerning pretween girls…
Introduction bears a fitting title, as it feels like something distinctly new within Hong’s self-reflexive oeuvre. It’s somewhat reductive to observe that Hong Sang-soo,…
The Last Thing Mary Saw is sedate bit of moody horror that takes an array of cinematic reference points and flattens them until there’s…
Boy Harsher’s foray into filmmaking is a bit clunky, but The Runner certainly doesn’t lack for ambition or vibes. Jae Matthews and Augustus Muller…
Belle as a leaden mess of abject sentimentality and perfunctory technological tedium. If there’s anything to be gleaned from Belle, it’s this: Mamoru Hosoda…
Italian Studies is a banal, ponderous work that fails to land on any interesting or governing thesis. Dislocation and dissociation lie at the heart…
The House isn’t quite a home, its neat little anthology package coming too much untied in a miscalculated final leg. The latest in Netflix’s endless…
Brazen is slickly made, but it’s otherwise firmly rooted in ’80s Lifetime thriller territory. As a title, Brazen sounds a little old-fashioned, a promise of…
2022’s Scream is a sincere betrayal of the franchise’s legacy and devoid of Craven’s masterful craft and play. A rejoinder to a dead subgenre, Wes Craven’s…
The Whaler Boy undermines any potential for naturalism and rawness with slick artifice and discordant commercial style. Philipp Yuryev’s debut feature The Whaler Boy takes…
An imperfect film, The Pink Cloud nonetheless stands as one of the defining pandemic texts despite — or perhaps because of — its predated genesis. Iuli…
Shattered is a sleazy erotic thriller knockoff, one that never realizes its camp potential but which boasts a few poor-taste pleasures along the way. Hidden…
Expedition Content takes to task the supremacy of the visual in film, delivering a vibrant, versatile work of experimental ethnography. Ernst Karel and Veronika Kusumaryati’s Expedition…