In the midst of Nicholas Ray’s bitter film noir, this thirty-second scene is striking for its unexpected intimacy.
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Thrilling though it may be, Denis Villeneuve’s second adaptation of Frank Herbert’s novels presents war as a distressing yet inevitable reality.
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Jonathan Glazer’s historical drama is a groundswell indictment of genocidal complacency. But should it win an Oscar?
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The exquisite latest work from writer-director Andrew Haigh embodies the best in what queer commercial filmmaking might offer.
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Bradley Cooper’s biopic of Leonard Bernstein is a coup of a performance that ultimately acquiesces to its subject’s overblown ego.
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Director Nicholas Ray eschews codes of patriarchy by comprehending and responding to his leading man’s beauty.
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Neither Hayao Miyazaki’s animation nor William Oldroyd’s psychological drama is very good, though both arise out of compelling scenarios.
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Kristoffer Bogli’s dark comedy appears to be a commentary on the fickle nature of modern celebrity, but also betrays a lurking paranoia towards cancel culture.
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The global music superstar directs a documentary that centers on her live performances, but also unveils a handful of personal quirks.
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Directors Sofia Coppola and Todd Haynes have both crafted unsettling dramas about audience complicity in famed cases of statutory rape.
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Writer-director Justine Triet’s psychological mystery is a meditation on our cultural predilection for interpreting women’s agency as deviant or offensive.
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For all its concern towards the people of the Osage, Martin Scorsese’s new historical drama is primarily interested in watching its subjects die.
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Kenneth Branagh’s latest Agatha Christie adaptation is a richly satisfying murder mystery with emotional weight.
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Halle Bailey makes her acting debut with the conviction of Julie Andrews in this engaging live-action remake of Disney’s animated classic.
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In the wake of a romantic rejection, I find myself remembering several great screen portraits of women who are grieving — from Esther Garrel to Barbra Streisand.
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Andrea Pallaoro directs the magnetic Trace Lysette in a ravishing family drama that is both stylish and homey, if occasionally gratuitous.
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The latest from visionary filmmaker Ari Aster draws a parallel between familial abuse and the hysterical effects induced from living in a world shaped by corporate monopolies.
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In this marathon of mediocrity, I reflect on four new releases — from a biopic of the classical composer Joseph Bologne, to a dark comedy about Dracula’s codependent sidekick.
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A.V. Rockwell's feature debut is a refreshing, romantic yet unsentimental story about one woman’s fight to raise her son in turn-of-the-millennium Harlem.
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Writer-director Davy Chou’s portrait of a Korea-born Frenchwoman’s fitful struggle to place herself elides any true impression of angst, discomfort, or urgency.
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