Sin Eater is a remarkably rough first draft masquerading as a finished film. There’s a recent episode of the PVD Horror Podcast that features the…
One of the primary pleasures of the film festival experience is encountering lower-profile new films and new creators free from the burdens of buzz…
There’s a furious call to revolution at the heart of Mariana Bastos’ Raquel 1:1, a sneaky-smart exploration of institutionalized misogyny masquerading as a vaguely…
Întregalde is a humble, human-scaled story expertly told and sure to be one of the best films of the year. Radu Muntean might not be as…
Watching Joële Walinga’s new experimental found-footage documentary Self-Portrait, one is reminded of Abbas Kiarostami’s thoughts upon the Cannes premiere of his 2002 film Ten:…
Ultrasound is appealing in spurts but frustratingly sticks to a safe middle ground where it could have stood to be messier. Rob Schroeder’s Ultrasound exists…
The Long Walk is an intricate and elegant work, sure to be one of the year’s best genre efforts and a remarkable calling card for…
The Seed offers plenty of gooey, gloopy genre fun, but is ultimately too scattershot and arrhythmically paced to fully recommend. There’s always room out there…
Arnaud Desplechin’s third feature, Esther Kahn, premiered to mixed reviews at the 2000 edition of the Cannes Film Festival. Originally clocking in at 152 minutes,…
Servants is a brutal, efficient affair, unconventional in its dramaturgy but landing with considerable force. Director Ivan Ostrochovský’s Servants begins with a cryptic, murky…
Ghosts of the Ozarks tees up a potentially fascinating horror-western premise, but much of its appeal dissipates as its back half becomes frustratingly obvious.…
Lucrecia Martel is one of our great contemporary filmmakers, so much so that even a modestly scaled, short work like Terminal Norte demands some…
If recent interviews are any indication, John Carpenter seems to have settled into a comfortable semi-retirement consisting of video games, weed, and collecting money…
The Cursed is blessed with beautiful images but is otherwise plagued by an overly familiar werewolf narrative. Why’s it so hard to make a…
There’s some mild fun to be had with Last Looks’ particular soft noir style, but it ultimately registers as a pale imitation of something you’ve…
Like so much recent horror, Slapface relies too heavily on soft metaphor, but there’s sufficient talent here to still keep things interesting. Jeremiah Kipp’s…
Erudite and playful and moving, The Worst Person in the World is brimming with ideas and feeling, and executed with the touch of a master storyteller.…
There Will Be No More Night is an intelligent, nightmarish portrait of war as first-person shooter and interrogation of how we consume visual information in…