A beguiling amalgam of classic opera sensibility, modern dance performance, and Badlands-esque, lovers-on-the-run romantic tragedy, Benjamin Millepied’s Carmen is a deeply idiosyncratic and electrifying film…
Film trailers sometimes embellish the truth, and other times overturn it entirely; Sony Pictures Classics’ preview of The Son, however, proves remarkably faithful to the…
What makes a great writer? Romantics and bookworms might wax poetic about unparalleled emotional insight or the fearless plumbing of the human condition, but pragmatists…
Rarely does the weight of a classic so gracefully crimp under the weightlessness of an earnest successor, less keen on displacing the gravitas of the…
One Fine Morning doesn’t stand out in Hansen-Løve’s filmography, but there’s enough here to suggest that it could resonate more fully in the long term. Stepping…
Return to Seoul is a film guided by its director’s steady hand, boasting a generous script and tethered to a fantastic lead performance. A hurried glance…
Anyone who has seen enough music documentaries probably has a pretty good idea of what The Return of Tanya Tucker would be before going in…
Salvatore is an undeniably pleasant and informative jaunt through fashion and film history, but a lack of balance and cohesion keep its ceiling low. Call it…
Hallelujah doesn’t quite strike the right balance between portrait of the artist and myth of the song, but its littered pleasures will likely still be enough…
The Phantom of the Open doesn’t deviate much from the underdog sports movie template, but has just enough depth and charm to slightly elevate it…
The Duke is an absurdist romp balanced by Michell’s trademark ease, and a fitting swan song for the director. As the final narrative feature from celebrated…
Mothering Sunday fills its frames with striking images and gorgeously appointed spaces to the point of mind-numbing banality. There’s a certain kind of film, one that…
If one were to name the auteur who most avidly committed to the integrity of mise-en-scène and who was always truly passionate in polemical defenses…
Compartment No. 6 is a gentle, moving romance that understands the benefit of languor rather than compression in establishing human connection. Single lodgings in a two-seater…
Jockey has an undeniable soulfulness, but suffers from its overly familiar narrative shape and beats. While each individual film should be judged according to its own…
The moving Parallel Mothers puts on full display Almodovar’s facility with wrangling the controlled chaos of narrative into a coherent whole. If Pedro Almodóvar’s pandemic short…
Julia doesn’t cover a lot of new territory for the already initiated, but it’s still a delightful bio-doc made with plenty of love. In a society…
Nine Days angles toward profundity, but is a largely maudlin, intellectually bankrupt genre-exercise of self-congratulation. In Plato’s Allegory of the Cave, prisoners sit facing a wall…
I Carry You With Me is an unpleasant mix of manipulative pap and trivialized stakes, and it’s done no favors by its docu-fiction structure. I Carry…
The Truffle Hunters is a considerably handsome film, but one unfortunately absent of much personality or character. The Truffle Hunters is a relatively modest festival contender,…
The Human Voice is a recent high water mark for Almodóvar, a masterful exercise in depicting both interior and exterior surfaces. In the late 1920s, the…