Review: Paul Schrader’s ‘The Card Counter’
“‘The Card Counter’ is a dark and moody work that successfully entertains and engages, reaching new heights for the experienced director.”
Mo Muzammal
Review: Stephen Daldry and Justin Martin’s ‘Together’
“‘Together’ is a monotonous affair with little to add to either the pandemic or relationship genre.”
Review: Sean Penn’s ‘Flag Day’
“‘Flag Day’ refuses to ponder challenging ideas but still wants its viewers to be moved.”
Review: Sian Heder’s ‘CODA’
“Though Coda’s representation of deaf characters is insightful and moving, the film’s reliance on cheap sentimentality threatens its most perceptive and entertaining qualities.”
Review: Leos Carax’s ‘Annette’
“Though ‘Annette’ has moments of visual splendor and transcendence, the underutilization of its stars and irritating music make the movie a disappointing return for Carax.”
Review: Tom McCarthy’s ‘Stillwater’
“By wrestling with questions of identity, politics and home in a bewitching fashion, ‘Stillwater’ refuses to belittle and judge its characters, and challenges viewers to do the same.”
Review: Carlos López Estrada’s ‘Summertime’
“‘Summertime’ feels wrong-headed, even if its heart is in the right place.”
Review: Michael Sarnoski’s ‘Pig’
“A soulful lead performance and assured direction showcases Cage’s indelible ability to make the silly into the poignant.”
Review: François Ozon’s ‘Summer of 85’
“‘Summer of 85’ is a well-designed coming-of-age work that makes for a sentimental and sensual drama, even if it fails to meet its potential.”
Review: Janicza Bravo’s ‘Zola’
“‘Zola’ is riveting, and the film’s rich array of cinematic techniques and performances upend convention, even if its narrative and story tend to falter.”
Review: Michael Caton-Jones’ ‘Our Ladies’
“‘Our Ladies’ may resonate with those appreciative of the 90s, but the film’s lack of critical insight on the gender politics of negotiating sex undermines its purported feminism…”
Review: Eytan Fox’s ‘Sublet’
“‘Sublet’ is a well-done film that manages to fuse different cultures and stories through its central romantic fling, renting its short running time for a meaningful, if imperfect experience.”
Review: David Charbonier and Justin Powell’s ‘The Djinn’
“The Djinn’s central performance is a demonically excellent tour de force, and the work’s inclusion of Islamic folklore is a welcome presence in the Christian-dominated sphere of demon-related American horror films.”
Review: Michael Chaves’ ‘The Conjuring: The Devil Made Me Do It’
“‘The Conjuring: The Devil Made Me Do It’ fails to meet its potential as a thoughtful thriller that explores possession on both the supernatural and human front…”
Review: John Krasinski’s ‘A Quiet Place Part II’
“‘A Quiet Place Part II’ depicts quietness as a strength, and the film’s release shows that the quietness of the past year can be resolved through the mutable, powerful sensibilities of cinema.”
Review: Robert Connolly’s ‘The Dry’
“‘The elements of ‘The Dry’ may be conventional, but the presentation, as well as Connolly’s attunement to very real concerns, still burns.”
Review: Gia Coppola’s ‘Mainstream’
“Coppola may generalize in ‘Mainstream,’ but her specifications are plenty insightful and perhaps truthful.”
Review: Ben Sharrock’s ‘Limbo’
“Ben Sharrock’s entracing new film ‘Limbo’ is a perceptive and earnest work.”
Review: Nikole Beckwith’s ‘Together Together’
“Together Together’s rumination on difficult work, new friendships and social bonding captures a pandemic mood, and works as a welcome addition to the niche genre of surrogacy cinema.”
Cannes Film Festival Review: Asghar Farhadi’s ‘Everybody Knows’
“Though it’s not one of Farhadi’s best films, ‘Everybody Knows’ is still an effective, impactful thriller.”