‘Coco’ is a typically entertaining and visually-striking film from Pixar, though it lacks the magic of the studio’s best efforts.
‘Beach Rats’ tells a familiar story in a familiar style; a strong performance from newcomer Harris Dickinson helps, but doesn’t make it soar.
Mike White’s ‘Brad’s Status” provides a wonderful Ben Stiller vehicle that will have you cringing and laughing at the same time.
Though its style hinders emotional engagement, Aki Kaurismäki’s ‘The Other Side of Hope’ is a cutting, funny critique of Europe’s refugee crisis.
Sean Baker’s ‘The Florida Project’ is a shapeless and interminable examination of insufferable characters, and mostly torturous to sit through.
Greta Gerwig’s ‘Lady Bird’ has the bones of a standard-issue coming of age tale, but the meat of a great cast makes it a film worth seeing.
Vivid, intense and necessarily wrenching, ‘BPM: Beats Per Minute’ brings ACT UP’s AIDS activism to pulsating, searing life amidst death.
An adorable child’s eye romp, ‘The Florida Project’ gradually reveals heartbreaking reality that lend a devastating kick to Sean Baker’s childhood fantasy.
NYFF sidebar films ‘Occidental’, ‘El mar la mar’ and ‘Did You Wonder Who Fired the Gun?’ manifest prejudice & empathy strikingly inventive ways.
NYFF Projections doc ‘Good Luck’ and Main Slate thriller ‘Western’ both focus on the physical, political and psychological tolls of commissioned labor.
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.