From the outside, Peter Nicks’ documentaries follow in the path of Frederick Wiseman’s institutional portraits. Nicks’s first, second, and third films (The Waiting Room, The Force, Homeroom)…

Thy Kingdom Come feels like what it is — deleted scenes from (and a misapprehension of) To the Wonder rather than a supplement to its…

The Power of the Dog gains considerable power in its back half, but Campion ultimately leaves too much simply twist in the wind. The narrative…

At the risk of painting with too broad a brush, Sébastien Pilote’s traditional treatment of Louis Hemon’s Maria Chapdelaine is a headline for all…

In recalibrating its source material, The Green Knight often proves compelling, but it doesn’t always convince as a fully liberated work. “I see legends,” Gawain…