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    May 2025 — Reviews Roundup
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    February 28, 2025
    An Evening Song (for three voices) — Graham Swon [Review]
    May 23, 2025
    Milisuthando — Milisuthando Bongela [Review]
    May 16, 2025
    Most People Die on Sundays — Iair Said [Review]
    May 2, 2025
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    April 30, 2025
    From the World of John Wick: Ballerina — Len Wiseman [Review]
    June 5, 2025
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    May 30, 2025
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    May 23, 2025
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    May 16, 2025
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    May 30, 2025
    Steppenwolf — Adilkhan Yerzhanov [Review]
    May 30, 2025
    Bring Her Back — Danny Philippou & Michael Philippou [Review]
    May 29, 2025
    Hurry Up Tomorrow — Trey Edward Shults [Review]
    May 19, 2025
    Ghost Trail — Jonathan Millet [Review]
    May 30, 2025
    Jane Austen Wrecked My Life — Laura Piani [Review]
    May 23, 2025
    The Code — Eugene Kotlyarenko [Review]
    May 16, 2025
    The Damned — Robert Minervini [Review]
    May 16, 2025
    Predator: Killer of Killers — Dan Trachtenberg & Joshua Wassung [Review]
    June 16, 2025
    Bono: Stories of Surrender — Andrew Dominik [Review]
    May 30, 2025
    Fountain of Youth — Guy Ritchie [Review]
    May 24, 2025
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    May 23, 2025
    Materialists — Celine Song [Review]
    June 12, 2025
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    June 9, 2025
    The Phoenician Scheme — Wes Anderson [Review]
    June 6, 2025
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    May 23, 2025
    Predator: Killer of Killers — Dan Trachtenberg & Joshua Wassung [Review]
    June 16, 2025
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    June 12, 2025
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    June 9, 2025
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    June 6, 2025
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    June 16, 2025
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    Tribeca Film Festival ’25 — Dispatch 1: After This Death, The Travel Companion, Twelve Moons
    June 11, 2025
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    May 30, 2025
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    The Specter of Transaction: Atom Egoyan’s Exotica
    June 13, 2025
    A Most Particular Style: Robert Bresson and Lancelot of the Lake
    June 9, 2025
    A Delightful Dream: Howard Hawks’ Gentlemen Prefer Blondes
    May 28, 2025
    The Instinctual Lurches of Desire: André Téchiné’s Wild Reeds
    May 16, 2025
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  • Feature Articles
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    Breaking Bread: Steven Spielberg’s Munich
    June 11, 2025
    The Periphery is Never the Problem: Oleksiy Radynski on Special Operation
    June 10, 2025
    Between a Terrorist and a Saint: Óliver Laxe on Sirât
    June 2, 2025
    A Fundamental Absence in the Techno-Paradise Project — Jesse Armstrong’s Mountainhead
    May 30, 2025
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Iryna Tsilyk

Browsing
- by Zachary Goldkind

The Earth is Blue As an Orange — Iryna Tsilyk

April 28, 2022
  • Recent Reviews

    • Materialists — Celine Song [Review]

      - by Alexander Mooney June 12, 2025

    • The Life of Chuck — Mike Flanagan [Review]

      - by Andrew Dignan June 9, 2025

    • The Phoenician Scheme — Wes Anderson [Review]

      - by Christian Craig June 6, 2025

    • From the World of John Wick: Ballerina — Len Wiseman [Review]

      - by Matt Lynch June 5, 2025

    • Tornado — John Maclean [Review]

      - by Chris Cassingham May 30, 2025

    • Bono: Stories of Surrender — Andrew Dominik [Review]

      - by Emily DuGranrut May 30, 2025

    • Karate Kid: Legends — Jonathan Entwistle [Review]

      - by Joshua Polanski May 30, 2025

    • Ghost Trail — Jonathan Millet [Review]

      - by Travis DeShong May 30, 2025

    • Steppenwolf — Adilkhan Yerzhanov [Review]

      - by Daniel Gorman May 30, 2025

    • Bring Her Back — Danny Philippou & Michael Philippou [Review]

      - by Alexander Mooney May 29, 2025
  • InRO Monthly

    • May 2025 — Reviews Roundup

      June 4, 2025 - by InRO Staff
  • Kicking the Canon

    • The Specter of Transaction: Atom Egoyan’s Exotica

      - by Anand Sudha June 13, 2025

    • A Most Particular Style: Robert Bresson and Lancelot of the Lake

      - by Padaí Ó Maolchalann June 9, 2025

    • A Delightful Dream: Howard Hawks’ Gentlemen Prefer Blondes

      - by Robert Stinner May 28, 2025

    • The Instinctual Lurches of Desire: André Téchiné’s Wild Reeds

      - by Chris Cassingham May 16, 2025

    • Birth of the Cool: Takeshi Kitano’s Violent Cop

      - by Joe Creely May 14, 2025
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