movie reviews
-
‘Moonage Daydream’ Film Review: Immersive David Bowie Documentary Is a Bold, Seething Mass of Bowie-ness
Cannes 2022: Brett Morgen’s doc delves into the Bowie archives to embrace the artist’s concept of an art that works with ”fragments and chaos“
-
‘Crimes of the Future’ Film Review: David Cronenberg Plays the Hits, But Always With Style
Cannes 2022: Whether this is the Canadian auteur’s final film, he offers closing arguments on his thematic and visual obsessions
-
‘The Bob’s Burgers Movie’ Review: For Non-Fans, This Comedy’s More Tasty Snack Than Meal
If you’re not already invested in the characters, the big-screen adaptation is a pleasant diversion that falls just short of actual satisfaction
-
‘Fire Island’ Film Review: Emma Meets Mr. Darcy, Only They’re All Dudes in Speedos
The course of true love runs anything but smooth in writer-star Joel Kim Booster’s queer rom-com
-
‘R.M.N.’ Film Review: Cristian Mungiu Explores Romania’s Fractured History Through One Conflicted Town
Cannes 2022: The director of ”4 Months, 3 Weeks and 2 Days“ lights a slow fuse but the payoff brings the fireworks
-
‘Mondocane’ Film Review: Italian Crime Drama Forgets It’s Also Supposed to Be Science Fiction
Bad enough that this film doesn’t have much to say about contemporary society — why confuse things by setting it in the future?
-
‘Aftersun’ Film Review: Charlotte Wells Debuts With an Achingly Stirring Coming-of-Age Tale
Cannes 2022: The first-time filmmaker poignantly captures the passage of time as it affects both parents and children
-
‘Brother and Sister’ Film Review: Marion Cotillard and Melvil Poupaud’s Sibling Rivalry Gets Lost in the Shuffle
Cannes 2022: Director and co-writer Arnaud Desplechin crams seemingly every idea he ever had into a drama that crowds out its powerful leads
-
‘Il Buco’ Film Review: Breathtaking Docudrama Takes a Stunning Journey into an Italian Cave
The latest from Michelangelo Frammartino (”Le Quattro Volte“) deserves to be seen on the biggest screen possible
-
‘Men’ Film Review: Jessie Buckley and All the Rory Kinnears Populate Alex Garland’s Eccentric Horror
Even with Kinnear’s eerie-versatility flex, this arty creeper never melds its themes and its terrors into a satisfying whole
-
‘Corsage’ Film Review: Vicky Krieps Suffers Aristocratically in a ‘Spencer’ for the 19th Century
Cannes 2022: Marie Kreutzer sympathetically and incisively examines the demands of the Austro-Hungarian spotlight on Empress Elisabeth
-
‘One Fine Morning’ Film Review: Mia Hansen-Løve Captures Love, Death, and Renewal in a Young Mother’s Life
Cannes 2022: Léa Seydoux gives a striking performance, her face registering a panoply of emotions with honesty and subtlety
-
‘EO’ Film Review: Cannes’ Oldest Director Gives Us a Silly, Entertaining Trifle About a Donkey
Cannes 2022: Jerzy Skolimowski seems mostly interested in making his camera swoop and soar and perform stupid pet tricks
-
‘Downton Abbey: A New Era’ Film Review: Plenty of Cozy but Not Much Drama in This For-Fans-Only Sequel
There’s little in the way of dramatic stakes or memorable writing
-
‘The French’ Film Review: Reissued Sports Doc Serves a Spirited Look at Tennis’ Golden Age
William Klein goes behind the net in 1981 with Borg, McEnroe, Navratilova, Noah and more
