A sharp, yet chaotic, black comedy, Marianna Palka’s ‘Bitch’ is more bewildering for its feminist critique than for its feebly dominant characters.
Wrenching, gorgeous and often suffocating, Andrew Dosunmu’s ‘Where is Kyra’ is a brutalizing descent into hopeless poverty.
Formally exquisite, yet disarmingly soulful, Kogonada’s ‘Columbus’ is lovely, lyrical film about how art makes us at once richer and smaller.
A serene and sublime dual character study, ‘Princess Cyd’ turns queer coming-of-age into a profoundly empathetic, naturalistic fairy tale.
An oblique journey into the wilderness of young masculine rage, ‘The Strange Ones’ struggles to resonate beyond its unnervingly disciplined craft.
Sadly scooped up by Netflix, ‘The Incredible Jessica James’ is a warm, enthusiastic Jessica Williams showcase that deserves a big screen spotlight.
Schmaltzy, stilted and winningly inclusive, Jennifer Reeder’s ‘Signature Move’ is a charming, if messy, wrestling-fueled rom-com.
A modern noir classic about suffocating celebrity, Aaron Katz’s ‘Gemini’ is as humanely funny a comedy as it is a strikingly stylized thriller.
Walter Hill’s ‘The Assignment’ is everything you want pulp fiction to be: classless, tasteless, vulgar, tawdry—and inescapably entertaining.
‘Song to Song’ is, well, a Terrence Malick film—general audiences will generally hate it, but more adventurous filmgoers could have their lives changed.
If ‘Angel’s Egg’ is an unreviewable film, then how does a critic go about reviewing it? Astonishingly, G Clark gives it a go.
‘Ghost in the Shell’ is a thoughtful and philosophical blockbuster, like a big-budget art film, with a fantastically precise ScarJo performance.
‘In the Basement’ might provide you with a shocking and amusing experience if you just turned twelve; adults will probably cross their arms and tsk tsk tsk.
‘Life’ stitches together the good bits of better, previous science fiction movies. It’s pretty generic stuff, but entertaining regardless.
‘Hungry Hearts’ is the kind of story parents tell their children at night when they want them to grow up to become kosher butchers.
‘The Way He Looks’ isn’t very successful as a whole, but it does contain a revelatory, breathtaking performance by its main actor, Ghilherme Lobo.
‘Sand Storm,’ Israel’s most recent entry for the Best Foreign Film Oscar, is an interesting, though slow, peek into the world of modern-day bedouins.
Kenji Mizoguchi’s ‘The Life of Oharu,’ currently streaming on FilmStruck, is an underseen but disappointing venture from the master filmmaker.
‘Kong: Skull Island’ is a disappointing Hollywood tentpole—devoid of wonder, suspense, characterisations, or anything else that makes movies enjoyable.
‘Split’ is an effectively creepy horror film; it’s not perfect, but it hits a high for M Night Shyamalan he hasn’t achieved since the early 2000s.