By now, the Korean New Wave is almost so grafted onto global mainstream culture, it’s sometimes difficult to remember it as a wave at all. Waves, in any case, a...
It didn’t take long — the Way We Were Then pandemic shutdown indies have begun to burp out of the film festival love canal, with Theda Hammel’s Stress Positions...
You can be forgiven for wondering if the new Woody Allen movie, Coup de Chance, is not actually a new Woody Allen movie. (Even the words “new Woody Allen mo...
You will, having seen Bertrand Bonello’s new film, The Beast, walk away feeling as though you certainly saw something, but what? Ambitious, maddeningly vagu...
The Romanian New Wave’s preeminent bad-boy muckraker, its Carpathian morph of Godard and Hunter S. Thompson, Radu Jude lobs yet another holy hand grenade at the...
A Holocaust movie in the way a skull MRI is a mugshot, Jonathan Glazer’s film The Zone of Interest is a tribulation of evasion and restraint — in the best ways ...
Make no mistake, you’ve already seen the new Netflix-y murder-mystery-procedural Reptile — but why not watch it again? That is, if you haven’t written it your...
A grand, blustery mess of a would-be blockbuster, Gareth Edwards’s The Creator is all premise, all exposition, all the time. And yet you hardly ever know mu...
Larrain has become one of global film culture’s most capricious voices — brooding biopic here; ironic ethical-political nightmare there; movies that flit po...
The most seductive thing, or the only seductive thing, about the new Dracula riff The Last Voyage of the Demeter is its rather inspired B-movie concept — one th...