Despite a well-mounted cast and a cogent subject matter that should theoretically work in the hands of such an assured genre stylist, Gore Verbinski’s ‘Good Luck, Have Fun, Don’t Die’ is an excruciatingly dull sci-fi comedy with a refusal to say anything meaningful.
Read MoreThanks to a committed (French-speaking) performance from Jodie Foster, Rebecca Zlotowski’s ‘A Private Life’ is an intriguing mystery film.
Read MoreDirector Nia DaCosta’s take on the ‘28’ franchise brings bold tonal swings and dials up the madness in the latest sequel, ‘28 Years Later: The Bone Temple’.
Read MoreNicholas Hytner’s ‘The Choral’ shines when it focuses on its protagonists ruminating on the casualties of war, but not so much when drawing character relationships inside the titular choir.
Read MoreWhile Brendan Fraser gives an impassioned performance in ‘Rental Family’, the movie itself is not as heartwarming as it sets out to be.
Read MoreWhile ‘Eternity’ boasts a compelling concept, the movie’s repetitive structure leaves much to be desired as it trudges through a predictable conclusion with little to no emotional impact.
Read MoreWith ‘The Mastermind’, the great American filmmaker Kelly Reichardt delivers a tremendous film - one efficiently controlled in its aesthetics and humor, anchored by Josh O’Connor performance.
Read MoreOz 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.
Read More‘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.
Read MoreJoachim 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.
Read MoreChris 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.
Read MoreMore exhausting than it is compelling, Richard Linklater fails to meaningfully illustrate who Lorenz Hart is in his chamber piece, ‘Blue Moon’.
Read More‘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.
Read MoreWhile ‘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.
Read MoreWith 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.
Read MoreThanks 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.
Read More‘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.
Read MoreFilmSpeak 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’.
Read MoreWhen ‘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.
Read MoreWhile 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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