Winner of the Grand Jury Prize at the Sundance Film Festival, Chinonye Chukwu’s grim death row drama Clemency begins with a lethal injection gone wrong,…
More sentient discourse than credible drama, Julius Onah’s Luce frankensteins together a collection of button-pushers: issues of race, class, privilege, elitism, tokenism, essentialism, free will,…
Tamara Kotevska and Ljubomir Stefanov’s documentary Honeyland opens with the image of a yellow-frocked figure, indistinct, walking a notched path that winds through a green sea of grass. It’s…
Vox Lux, the second film from actor-turned-director Brady Corbet (after 2016’s The Childhood of a Leader), scans as a fruitless and embittered attack on pop…
Aaron Katz’s glossy, very surface-conscious mystery opens in high style with an upside-down shot of twilit palm trees, cool vaporwave beats easing the transition to…
Eliza Hittman’s first feature, It Felt Like Love, was a promising, if familiar Brooklyn-set tale of a teenage girl’s burgeoning sexuality. With, Beach Rats, Hittman…
In her promising first feature, A Girl Walks Home Alone at Night, Iranian director Ana Lily Amirpour forewent the feminist messaging her film’s title might…
Give Nacho Vigalondo’s latest points for being consistently unpredictable: it’s a monster movie, in a sense, but the monsters turn out to be analogous for its…