The Lobby’s punishing perspective and comical presentation make for a wryly self-deprecating inquiry into death and all things philosophical. “There is no here here”…
Rimini possesses a frigid sociological potency whose disparate elements capture a stratified generation’s cultural and libidinal imaginary. The curtain doesn’t quite fall in wintry…
Triangle of Sadness vacillates between slight but sly commentary and outright gaudiness, but an enigmatic, delightfully bathetic ending ushers Östlund’s film out on a high…
Terrifier 2 is a breath of fresh horror air, hilarity, melodrama, brutality, and unhinged schtick rolled into one grisly package, all of it supported by…
The Silent Twins flattens any psychological depth found in its characters and suffers from a directorial style mismatched to the content at hand. The…
Ozon’s frivolous Fassbinder homage doesn’t quite engrave much that is substantive or memorable. Rainer Werner Fassbinder’s tragically short and tormented life has been the…
“Imagination is a force that can actually manifest a reality. Don’t put limitations on yourself. Others will do that for you.” — James Cameron…
Squeal is an occasionally striking study of the fairy tales men tell themselves, but it too often feels floundering and under-cooked to be regarded…
At its core, the intellectual thesis of Julia Murat’s intelligent if inconclusive film belies a more emotional investment. As its title might imply, Rule…
Fifty years ago this month, the late Wes Craven premiered The Last House on the Left, a film notorious even in an era of…
An ill-conceived inertia plagues Memory Box, and its magical-sounding title only barely conceals the roteness of its center. In Sophy Romvari’s Still Processing, an intensely…
Without the director’s name attached to the credits, and without Alain Chabat’s happily nonchalant presence gracing the screen, one might not recognize Incredible But…
Though frequently overt in its commentary, Medusa still enthralls thanks to its formally and functionally immersive world-building. Set in an alternate Brazil where evangelical conservatism has…
Karmalink suffers from an inventive premise marred by uninspired execution and a lackadaisical rhythm. Jake Wachtel’s debut feature, on paper, ticks all the boxes, and…
My Donkey, My Lover & I might trade too liberally in cliché, but its escapist texture, palpable charm, and refusal to give in to…
Though its thematic threads begin to fray, Moloch remains a tantalizing evocation in primal fear that explores the allure behind myth and symbol. Idolatry has remained…
American Carnage is harmlessly fun and occasionally intriguing in its provocations, but it’s all predicated too closely on overly familiar touchstones. What’s the ideal…
Cryo hints early on at a future-facing work of exhilarating promise and peril, but is ultimately cloaked in a calcified slab of ice. Barrett Burgin’s…