Beyond the use of AI slop, Danny Boyle’s ‘Ink’ does little to interrogate the figures at the heart of his indictment of tabloid journalism.
Read MoreMike Leigh, one of our modern greats, leaves us with a incredibly personal and aptly tender farewell film in ‘Tender Loving Care’.
Read MoreDespite impassioned performances by Penélope Cruz and Javier Bardem, Florian Zeller has proven incapable of making thought-provoking films as his flop streak continues with ‘Bunker’.
Read MoreDirector Peter Farrelly decides to tell the underdog story behind the underdog story in a heartwarming, albeit low-stakes award contender, ‘I Play Rocky’.
Read MoreSomeone, someday, and honestly maybe they already have, will tell a good story and execute a good film surrounding this premise. Unfortunately, ‘Paradise Lost’ is not that film.
Read MoreDirector Rachel Morrison’s sophomore outing, ‘Love Of Your Life’ retains the emotional sensibilities of her knockout debut, albeit in a somewhat dull story.
Read MoreDespite pushing a sweet message and starring the unquestionably talented Chase Infiniti, ‘The Julia Set’ falls flat, overladen with common academic clichés and cartoonish characterizations.
Read MoreImpassioned performances from Ruth Madeley and Mark Ruffalo save Sian Heder’s ‘Being Heumann’ from being a misfire, but the film’s flaws stick out like a sore thumb.
Read More‘Everybody Wants to F*ck Me’ is a satirical look into manipulation in the dating world, which will surely strike a chord of truth with many viewers that are currently swiping on apps and suffering through first dates.
Read MoreThe slasher genre welcomes a new force with ‘River’, a unique project that refuses to take its foot off the gas pedal.
Read MoreElizabeth Chai Vasarhelyi and Jimmy Chin’s ‘Everest: The Other Side’ will make your palms sweat and your heart race by simply showing an extreme sport you’ve likely never seen realized this way.
Read MoreCristian Mungiu’s ‘Fjord’ delivers a beautiful yet deeply isolating and singular narrative about a family in crisis, making for one of this year’s best.
Read More‘Clarissa’, the latest film from Arie and Chuko Esiri, which swaps Virginia Woolf’s 1920’s London for both a contemporary and 1980’s/90’s Nigeria in a brilliant reimagining of the classic.
Read MoreDespite an alluring visual language and decent performances from both Pascale Bussières and François Arnaud, filmmaker Wiebke von Carolsfeld’s ‘Someone’s Daughter’ seems afraid to explore the central topic at the heart of the movie.
Read MoreWhile Seidi Haarla gives filmmaker Hannah Bergholm’s ‘Nightborn’ a real dramatic heft, this Cheval Noir-award winning picture quickly bludgeons the audience with the same old tropes, ideas and irritating shrieks that ultimately signify nothing.
Read MoreThanks to its committed performances and an impeccably controlled aesthetic palette, director Nicky Murphy gives us a mockumentary for the ages in ‘I Love Paris’, which can even put What We Do In the Shadows to shame.
Read MoreWhile not without its flaws, filmmaker Corrin Evans strikes the screen with the aesthetically invigorating and thematically rich ‘Corpus’, one of the major highlights of this year’s Fantasia Cheval Noir section.
Read MoreWhile brief, Makoto Ueda crafts a highly playful meta-comedy with ‘You Are the Film’ and awakens our innate love of cinema as a unifying art form.
Read MoreJane Schoenbrun tackles a lot in ‘Teenage Sex and Death at Camp Miasma’ that it almost feels like it’s going to collapse in on itself, until it doesn’t and opens up in ways you never expected from the outset.
Read MoreJafar Panahi crafts his most daring film yet with the Palme d’Or-winning ‘It Was Just an Accident.’ With an admittedly simple premise, the Iranian filmmaker defies authority with simple gestures that speak louder than a thousand words.
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