Kelly Reichardt’s latest film, ‘Certain Women,’ is unfortunately something of a disappointment. Thankfully, however, it is a beautiful one.
The thing that I await and adore obsessively every year is here once again, a time-honored tradition that I can rely on every year to lift my spirits. Yes, it’s David Ehrlich’s annual Top 25 countdown video, a reliably surprising and disarming time capsule of yet another year in film. You may not have known […]
‘Manchester by the Sea’ & ‘Moonlight’ split the focus of the New York Film Critics Circle’s awards winners, while ‘La La Land’ & Isabelle Huppert stood out.
‘Dr Strange’ is the latest movie by Marvel Studios, and this is the excerpt that lets you know that this is a review of ‘Dr Strange.’
Back from a break, G Clark reviews Anna Rose Holmer’s debut film, ‘The Fits,’ which plays more like a parody of arthouse cinema than a serious work of art.
A heart-stopping group portrait, ’20th Century Women’ is a bittersweet existential triumph, expanding coming-of-age for every generation.
Ava DuVernay’s ’13th’ is an urgent, vital testament of black history; ‘Manchester by the Sea’, a devastating dramedy of grief. Our latest dispatch from New York Film Festival.
Our first dispatch from the 2016 New York Film Festival, Lena digs into the fragile and lunatic delights of Jim Jarmusch’s ‘Paterson’ and Joao Pedro Rodrigues’ ‘The Ornithologist’.
Film Misery’s Oscar coverage continues with ‘From Afar,’ Venezuela’s submission for Best Foreign Film and a recent Golden Lion winner at Venice.
Oscar Season kicks off at Film Misery with G Clark’s review of Pedro Almodóvar’s 20th feature ‘Julieta,’ Spain’s submission for Best Foreign Language Film.
As Telluride by the Sea kicks off, Damien Chazelle’s Los Angeles musical ‘La La Land’ casts a kaleidoscopic spell that never lets go.
Oliver Stone’s latest film, ‘Snowden,’ is a well-meaning but painfully obvious portrait of Edward Snowden, bolstered by a great central performance.
A bewildering, ecstatic mix of Andrzej Żuławski, Takashi Miike and Spike Jonze’s naturally electric energy make ‘My Mutant Brain’ a stunning shot of cinema.
G Clark uses ‘Europa Report’ to examine the ‘found footage’ technique, and explain why, so often, such films come up short.
Clint Eastwood’s ‘Sully,’ one of 2016’s better pictures, shows how stark and simple filmmaking can be used to powerful effect.
Reviews of ‘Sausage Party’ and ‘Only Yesterday’ to kick off a larger discussion of animated films geared for adults.
G Clark examines the narrative structure and universal appeal of Hayao Miyazaki’s ‘My Neighbor Totoro,’ the perfect family film.
Jean-François Richet’s ‘Blood Father’ lands with a thud, but is nearly saved by the star power and colossal talents of the singular Mel Gibson.
A dazzling epic of stop-motion wizardry, ‘Kubo and the Two Strings’ is a powerful, cathartic tale of loss and aching remembrance.
‘Can We Take a Joke’ answers its own question with an implied ‘No.’ It is unlikely to sway anyone’s opinion, yet raises interesting points.