There’s an appealing, lulling rhythm to Kogonada’s second feature, but few of its philosophical inquires are met with worthy responses. There is much to…
The Tragedy of Macbeth is masterful in its fusing of the artificial and elemental, a bit of Shakespearean subterfuge that justifies this umpteenth take on the…
Red Rocket is an intentionally bad vibes experience, and while the film’s messaging is resolutely simplistic, it’s all kept afloat by Simon Rex’s year’s-best performance.…
The Humans isn’t a subtle film, but mostly impresses thanks to surprising formal chops from playwright-turned-director Stephen Karam. In a millennium relatively lacking in original…
C’mon C’mon is a distinctly inauthentic, contrived viewing experience more likely to have viewers chanting “go away, go away.” Next only to dead wives, doomed…
The Souvenir: Part II plays out largely as protracted epilogue, a fumbling, detached work that negates the first film’s powerful ending. Jean-Honoré Fragonard’s 1778…
In recalibrating its source material, The Green Knight often proves compelling, but it doesn’t always convince as a fully liberated work. “I see legends,” Gawain…
Unlike recent duds Mainstream and PVT Chat, Zola is a film that cuttingly, brutally understands what it is to be Extremely Online. No film better encapsulates the…
Saint Maud is another A24 exercise in elevated, modulated horror but is fairly absent of anything beyond empty, artful pretense. It’s been a long journey…
Minari sets up opportunities for deep engagement, but it mostly forgoes those in favor a flattened series of simplistic, bittersweet vignettes as narrative. Bill Forsyth’s…
With On the Rocks, Sofia Coppola reconfigures her pet themes into a welcomingly settled film that plays a lot like an NYC-set Somewhere. “It…
Kelly Reichardt’s latest treads familiar thematic territory, but her minimalist leanings here lend toward something altogether more expansive. First Cow is a film of…
Peter Strickland is a stylistic maximalist, an homage specialist who makes Tarantino look like a film school pedant. Along with Helene Cattet & Bruno…
Having recently explored heroin-heavy, vagabond living in Heaven Knows What (2014) and a bank robber’s desperation in Good Time (2017), directors Benny and Josh Safdie glimpse a different class…
As the credits roll on Waves, against the blue, bright promise of an open sky, Alabama Shakes’s “Sound and Color” spills forth from the…
The Lighthouse is, in some ways, the last film we need right now. A male-centric chamber piece, Robert Eggers’s latest revels in the grotesqueries of guydom: farts, hooch,…
We may have gotten to the point where not only is A24 curating its brand with obvious aesthetic guidelines, but also, we have fresh…
Writer-director Guy Nattiv’s Skin isn’t just a feature-length extension of Nattiv’s Oscar-winning short film, also called Skin; the 2018 short played out like the…