The best examples of this genre continue to evoke humanity’s eternal fear of social disruption.
Its pantomime villains aside, this is a film about men who are doing their best to serve God.
The film is most interesting when observing the subtler power dynamics at play within frats.
McQueen’s painterly eye and showmanship are put in service of a populist fable.
The meticulous recounting of Sara Jane Moore’s actions only deepens their mystery.
John Crowley’s film never builds to a cohesive, or emotionally satisfying, whole.
I’m Still Here’s affection for its subjects, though tender, is largely hagiographic.
The 49th edition of the festival was a showcase of more liberal sentiments and artistic styles.
This is a film of great freedom, suggesting that anything can happen at any given moment.
The drama of the film is a literal life and death struggle that’s exceedingly of this moment.
In Guadagnino’s latest, the queer, tragically, becomes quotidian.
The huge party at the film’s center is among the great parties of recent American cinema.
The film finds Marianne Jean-Baptiste channeling an anger that feels excruciatingly real.
Just as its style is enervating, Emilia Pérez settles for mundane portraiture.
Grief may be its starting point, but the film has much more on its mind than that.
Writer-director Rungano Nyoni’s second feature is as acerbic as it is unforgiving.
Plante discusses whether online culture encourages people to hide themselves in society.
Perry’s Cubist portrait finds a fitting balance between reverence and mischievousness.
Folie à Deux is a film caught between a rock and a hard place of its own making.
Miguel Gomes casts a satirical eye on a globetrotting journey’s basis in colonial conquest.
The film’s images and words are an imprint of tremendous state violence.