Ambitious and earnest but fitful and awkward, Noah Baumbach’s adaptation of Don DeLillo’s now classic 1985 novel, White Noise (which debuted Friday on Netflix) ...
The new quasi-kinda-non-horror film Nanny grabs a set-up loaded with small-scale sociopolitical explosives: A poor African woman, with a child back in Senegal, ...
Paradise and the Abyss in new Found Footage Films -- Three Minutes: A Lengthening and The Super 8 Years both discover that reality and film live different lives...
The protracted, and syntactically awkward title of Alejandro González Iñárritu’s new film—Bardo, False Chronicle of a Handful of Truths—may seem a touch abstrus...
You feel a palpable relief, watching Martin McDonagh’s new film, The Banshees of Inisherin, knowing that the writer/director has gone back to Ireland. His cold-...
The city of Amsterdam, in the new David O. Russell film, serves as a kind of metonym for youthful bliss; specifically, the kind many shattered WWI veterans foun...
Since we don’t care at all about the director-star squabbling that has beset Don’t Worry Darling—it’s hardly Herzog and Klaus Kinski circling each other with pi...
Prequels, like Ti West’s new film Pearl, come bearing an existential mandate—you need audiences that will revere the previous film, and a compelling reason to b...
Sometimes, high concept means an absence of concept altogether. Like a sensory deprivation tank, the new non-thriller The Immaculate Room is so empty it dares y...
A fervent effort to craft a Stand By Me for tween girls—or maybe for Millennials nostalgic for their sixth-grade girlhoods—director James Ponsoldt’s Summering e...
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