Oz Perkins has yet to make something worthwhile in the opinion of our Maxance Vincent, but with his sixth feature, ‘Keeper’, the film could be the worst project he has ever helmed.
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‘Nouvelle Vague’ may be Avengers: Endgame for the Cahiers du Cinéma crowd, but the film is devoid of any substance beyond the aesthetic recreations of one of the most groundbreaking motion pictures that forever changed cinema.
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Joachim Trier offers a profoundly affecting meditation on the healing – and life-affirming – power of art in ‘Sentimental Value’, anchored by a devastatingly brilliant Renate Reinsve, who gives this year’s most soulful performance.
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Chris Stuckmann certainly has the cinematic baggage to craft ‘Shelby Oaks’, but he cannot effectively transcend any of the influences he cites in this painfully underdeveloped horror film.
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More exhausting than it is compelling, Richard Linklater fails to meaningfully illustrate who Lorenz Hart is in his chamber piece, ‘Blue Moon’.
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‘Anemone’ should only be watched by those craving another performance from Daniel Day-Lewis, because the film surrounding his incredible, controlled turn does not work at all.
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While ‘Eleanor the Great’ is elevated by a legendary turn from June Squibb as the titular character, the film’s handling of several subjects leaves much to be desired, as does Scarlet Johansson’s direction.
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With a more contemplative approach to filmmaking, Steven Soderbergh reflects on his legacy through one of Ian McKellen’s best-ever performances in ‘The Christophers’, and marks the beginning of his late stage.
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Thanks to a captivating performance by Margaret Qualley and an assured sense of style and hyper-violence, Ethan Coen manages to make ‘Honey Don’t!’ a memorable affair, even if it continuously stumbles along the way.
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‘Freakier Friday’ is Disney’s best theatrical live-action release in ages, thanks in no small parts to the ineffable charm of both Lindsay Lohan and Jamie Lee Curtis.
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FilmSpeak begins the Fantasia Festival looking at Ari Aster’s attempts to make sense out of a year (and decade) that doesn’t make sense with his latest dark comedy, ‘Eddington’.
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When ‘Superman’ was first announced, and since subsequently teased and advertised, a lot of folks wondered what writer/director James Gunn was going to do to break the genre’s ongoing funk.
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While Ilya Naishuller remains a cogent action artist who knows how to frame and shoot a succession of kinetically exciting sequences, everything around the action in his latest, ‘Heads of State’, falls incredibly flat.
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While Bryan Cranston and Allison Janney give somewhat impassioned performances, Jon S. Baird can’t follow up the same momentum he built with ‘Tetris’ in his latest motion picture, ‘Everything’s Going to Be Great’.
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Wes Anderson culminates his cycle of self-reflexion with ‘The Phoenician Scheme’, a film that throws all of his formal sensibilities out the window, as he looks to break what made him such a revered filmmaker for the past thirty years.
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While ‘Jane Austen Wrecked My Life’ boasts solid performances, the array of subjects and themes it explores is far too underdeveloped to make a good movie.
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Thanks to the effervescent chemistry from Anna Kendrick and Blake Lively, alongside a story that knows it shouldn’t take itself too seriously, Paul Feig makes his first good movie since ‘A Simple Favor’ with the sequel ‘Another Simple Favor’.
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While no one can deny the intricate puppetry of ‘The Legend of Ochi’, Isaiah Saxon’s directorial debut is a frequently grating, listless carbon copy of better, more poignant family adventures, without any personal voice behind the images that the director unabashedly steals from.
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While ‘On Swift Horses’ boasts compelling performances from its star-studded cast, the film’s lack of identity makes it difficult for audiences to latch onto its story and thematic underpinnings.
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While James Griffiths’ The Ballad of Wallis Island does not reinvent the wheel, it illustrates a moving portrait of grief with three devastating performances at the core of the movie.
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