The soldiers of Roberto Minervini’s The Damned play cards, wander around, and casually debate theology. The year is 1862, and these Union soldiers find themselves…
Sound of Falling Melancholy, that inexplicable feeling of pensiveness, constitutes the centerpiece of memory, at least when memory divulges itself to its owner and defers…
Credit where it’s due: Hurry Up Tomorrow is the sort of fiasco that Canadian pop superstar The Weeknd has been concertedly building toward over several…
The Final Destination franchise is anything you want it to be. Its six not-so-varied variations of death engaging in a cruelly one-sided game of chess…
Coming-of-age films are rarely as frank about the relationship between sex and politics as André Téchiné’s Wild Reeds. The film traces the lives of students…
Over the last 30 years, the Mission: Impossible series has mutated from a simple blockbuster star vehicle, to an action director’s showcase for the likes…
Violent Cop as a title stands emblematic of the far simpler film that could have been. It’s a title straight out of the rural garage…
Jia Zhangke’s Caught by the Tides, currently in U.S. theaters after initially premiering nearly a year ago at the 77th Cannes Film Festival in May…
Over the course of three seasons, I Think You Should Leave has cemented Tim Robinson as a genuinely iconic comedic performer. With episodes under 20…
How does one definitively characterize a child’s point of view? Is it by positioning it as a response to the stultifying cynicism of adulthood, exemplified…
Titles are a funny thing. Adapted from a 2020 novel of the same name, Eli Craig’s horror-comedy Clown in a Cornfield takes the same tact as recent…
It makes sense that Joel Potrykus has remained a Michigan filmmaker his entire career. His rebellious, don’t-ask-permission attitude is right at home in a state…
Underground Kaori Oda’s Underground is a film built around the meanings of its title, but it’s also apparently built up to 83 minutes out of…
After a rich and varied March release landscape, April came back down to Earth a bit. There were still exciting, under-the-radar releases (Gazer, Henry Fonda…
What is it going to take for the Marvel Cinematic Universe to right the ship? Even the monolith’s most diehard fans are starting to lose…
The two sequences that form the beginning of Dea Kulumbegashvili’s April set a mood of violent unease. We follow a faceless creature, vaguely humanoid despite…
In the near-decade since it came out, The Accountant has become a Dad Movie classic, beloved (some might say inexplicably) by anyone looking for something…
After 2021’s El Planeta, Amalia Ulman ups the ante with her second feature, Magic Farm, in every conceivable way. Black-and-white cinematography here gives way to…
The rapid ascension of Ryan Coogler as a pop-filmmaker of some stature has taken a somewhat counterintuitive route. After bursting onto the scene with an…
In the earliest funerary customs, grave sites would be marked with a stone, or a whittled piece of wood, or, perhaps, a gigantic pyramid. We’ve…
I was not surprised that I was deeply charmed by young Joel Alfonso Vargas’ Mad Bills To Pay, which screened at this year’s New Directors/New…