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…
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…
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…
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…
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…
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…
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…
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…
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…
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…
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…
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…
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…
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 Father can veer into indulgence, but largely works as a nuanced, compassionate portrait of aging’s ravages. Like the captain of his soul, Anthony —…
French Exit is an absolute disaster. The end. It takes truly talented people both in front of and behind the camera to make something as…
The Climb is perhaps overly familiar but boasts a chemistry-rich lead duo and a winning commitment to its comedy-by-repetition mode. The Climb opens on the image…
The Traitor operates as both biopic and mob flick, reveling in the murky complexity of its central figure. A biopic of Mafia boss Tommaso Buscetta…