Atom Egoyan’s latest is a self-serious dud that finds the director trying and failing to recall his once impressive weighty themes. There’s a certain level…
The director’s latest work is built on quiet moments of spiritual and professional reflection, a Fellini-esque inward gaze at the artist and his art. Originally…
Balagov’s debut proves a heady look at individualism, but one ultimately less substantive than it initially suggests. Tribal frictions unfurl, both combative and internalized, when…
Bacurau’s initial promise of a raucous genre celebration ultimately devolves into a shallow approximation of those pleasures. There’s an undeniable sensuousness to the surfaces of Bacurau:…
Sorry We Missed You finds Ken Loach taking on the gig economy and the Sisyphean struggle it inflicts. For over fifty years now, Ken Loach has specialized in…
Young Ahmed is an misguided effort in the Dardennes’ usually rock solid filmography. Jean Pierre & Luc Dardenne have created a corpus of films strong enough to…
Beanpole is a rending vision of aftermath, conjuring moments of real beauty from misery. War films have been with us as long as film has been…
Beniamino Barrese’s The Disappearance of My Mother is a documentary portrait of Benedetta Barzini, the first Italian supermodel to appear on the cover of American…
Synonyms is a film driven by an idea, one that rattles around in its protagonist’s head and belabors him at every step. The question is one…
Chained for Life opens with a quote from Pauline Kael: “Actors and actresses are usually more beautiful than ordinary people. And why not?” Director Aaron Schimberg’s invocation…
After his eccentric, taskmaster father (Udo Kier) dies, Andy (Tye Sheridan) — a burly, brooding mass of tortured American masculinity — joins a renowned physician,…
Abel (Louis Garrel) has a dilemma, one that makes-up the entire emotional framework of A Faithful Man. Abel lusts after two equally beautiful (and deviously…
The Chambermaid, the first feature from actress-turned-theater-director-turned filmmaker Lila Aviles, centers on Eve (Gabriela Cartol), a luxury hotel cleaning lady working in Mexico City. Part of…
Diamantino, the brainchild of directors Gabriel Abrantes and Daniel Schmidt, comes out guns-a’-blazin’, with frenetic, intertwining, impossible-to-link story threads listed-out via voice-over and referencing (in…
It feels pointed that the segment in Long Day’s Journey Into Night’s checkered timeline that forms its romantic core is set in the year 2000, which…
As one of the only Iranian films with traction and visibility on the international festival circuit, Jafar Panahi’s Three Faces has much to prove. The…
As with 2010’s exceptional October Country, Michael Palmieri and Donal Mosher’s The Gospel of Eureka brings an intelligent, discerning empathy to matters of political, moral,…
At least for awhile, the new essay film by the pushing-90 French auteur Jean-Luc Godard plays like a liberally abridged version of his magnum opus, Histoire(s) du cinéma. The…
Those familiar with Hélène Cattet and Bruno Forzani’s previous films, Amer and The Strange Colour of Your Body’s Tears, will be well-prepared for another of…
In Xavier Legrand’s Custody, viewers may get the sense that instead of the domestic drama this has been billed as, what they’re in fact watching is something much closer…
Exciting, fascinating and mostly well-rounded, Peter Nicks’s The Force follows the Oakland Police Department (and by proxy, the citizens and city of Oakland) for two…