Armageddon Time is far from Gray’s best and can occasionally risk eye-roll liberal apologia, but the director is ultimately too smart a filmmaker to fully…
TÁR raises plenty of fascinating questions, but Field unfortunately proves more interested in depicting the luridness of their specific context here than he does in exploring…
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…
Honk For Jesus’ plot is unevenly distributed and its tone a bit imbalanced, but it ultimately lands as a solid sendup of toxic church culture sold…
Vengeance suggests plenty of potential in its genre-mixing premise, but frustratingly shakes out exactly as you’d expect at every turn. It feels like the idea…
Mrs. Harris Goes to Paris is appealingly quaint and visually pleasing, but dampens its delights with some soggy, unnecessary thematizing. Director Anthony Fabian’s Mrs. Harris…
Brian and Charles is so lightweight as to risk blowing over at any moment, but is also a wholly endearing affair that will charm more viewers…
A New Era is no masterpiece, but it’s a far cozier and more fitting franchise send-off than its predecessor managed to be. Downton Abbey: A…
You Won’t Be Alone is an emotional and aesthetic masterwork, and a stirring expression of the human condition. Goran Stolevski’s feature-length debut, You Won’t Be Alone,…
The Northman is a brutal and beautiful bit of mythic spectacle, but can still sometimes feel restrained despite its outsized production. Gather round: it’s time for…
The Outfit is a glossy but empty prestige crime drama that mistakes convolution for compelling plotting. Early in The Outfit, our central protagonist, a mild-mannered tailor…
More poodle than Wolf, Biancheri’s film is a frustratingly tame and conservative treatment of potentially fascinating material. Ten years ago, a film like Wolf would have…
There’s very little to distinguish Belfast as a work of art, a film that uses its dramatic and formal elements only in service of feel-good platitudes.…
Last Night in Soho is a seductive and sumptuous Giallo riff, but suffers from a final act that undermines much of the film’s early power.…
Blue Bayou’s reach for authenticity is entirely undermined by its empty, saccharine sheen of melodrama. In its broad strokes, writer-director Justin Chon’s Blue Bayou seeks…
The Card Counter takes a similar shape to many of Schrader’s Lonely Man films, but this latest can’t quite overcome the template and thrive on…
Stillwater tiptoes around complex, potentially rich discourse without ever committing to any real ideological principle. Who is Tom McCarthy, really? Once a semi-successful TV actor, he’s…
Roadrunner doesn’t revolutionize the portrait documentary, but it does execute its essential elements with pathos and formal precision. The late culinary connoisseur Anthony Bourdain once…
The Sparks Brothers is an energetic, cinematic homage to one of the most cinematic musical groups of all-time. For most of their fans and listeners, a…
Final Account is not just a reckoning with history, but with its present lingering, executed with uncompromising force and first-hand immediacy. Released after the death of…
Profile’s subject matter is more than a little silly, but its thrilling Screenlife tinkering speaks to the form’s malleability and still-untapped potential. 2021 really might…