“For a film revolving around an actor destroyed by a bad reputation, ‘The Death and Life of John F. Donovan’ remains frustratingly vague about the media’s indiscretions that bring John’s downfall.”
“‘Widows’ offers the thrills and the feelings, the political and the sentimental corruption, the men but also, and especially, the women behind them, who will do anything for love, but won’t do that.”
“By being so lazy and aggressive with his judgment of pop culture, Corbet ends up making a film that is bland in its anger, annoying in its attacks and ridiculous in its contempt for its characters and audience.”
“‘The Kindergarten Teacher’ is purposefully not a comfortable watch, but it satisfies in many ways. Not only is its central character an imperfect woman, but she also expresses her palpable rage in a strange and fascinating form of intellectual violence.”
“Audiard finds the real drama of the film in how the seemingly boundless promise of the land collides with the very real limitations of the human imagination and body.”
“‘Bodied’ is a blisteringly urgent and inescapably topical meditation on race, class and identity; the kind of movie that could only be told with the panache and in-your-face directness of Kahn.”
“For a film about an eternal conflict, ‘Non-Fiction’ is a strangely calming film. It quietly assures you that while a fight for permanence is natural, the need to change is also equally natural.”
“‘The Most Assassinated Woman in the World’ is not, by my estimation, a horror film, but a film about horror spectatorship; the joy of discomfort.”
“Minihan’s tale is a moody, memorable work of art that dares its audience to meditate on the layers and anxieties of love and deceit.”
“Both characters are lazy, ugly sketches of deviancy, leaning on ableist and transphobic stereotypes in the place of characterisation.”
“A loving tribute to the days of switchblades and shoulder pads, ‘Crystal Eyes’ gives credence to the giallo genre through its tongue-in-cheek absurdity and commitment to the transitory styles that defined its later years.”
“Despite not having much to glom onto, narratively, ‘Cocote’ is a blunt film, and your mileage may vary based on how receptive you are to de Los Santos Arias’ formalistic provocations…”
“‘Good Manners’ isn’t without its share of redeeming factors, to be sure, but Dutra and Rojas are simply hamstrung by their chosen medium, which pits an overabundance of ideas to a constricting runtime.”
“Directed with sensitivity by Jon M. Chu, ‘Crazy Rich Asians’ pokes fun at frivolity and the pretenses of the rich while letting loose with some lavish fun across vast picturesque landscapes.”
“Uchoa and Dumans’ distanced, matter-of-fact portrayal of their vagabond renders ‘Araby’ an elusive and open film. It’s particulars aren’t always announced, because — as with Bresson — the text ask viewers to meet it where it stands.”
“As a primer on Laing, ‘Mad to be Normal’ offers nothing substantive; there is little attempt to explicate Laing’s ideas, or to pursue how he formulated those ideas while working in Glasgow’s mental hospitals…”
“The success of Bo Burnham’s ‘Eighth Grade’ proves that audiences crave the authenticity that’s been lacking for so long, and by providing it, the film ends the stereotypical portrayal of teenagers.”
“When it comes to sheer quantity of triple-crosses, double agents, remote control gizmo toys, one-liners, stunts and rubber mask fake outs, ‘Mission: Impossible — Fallout’ outdoes its predecessors. The big question now, however, is whether the longevity of this franchise is finally taking its toll on the overall quality.”
“‘Leave No Trace’ finds its tension in the growing gap between father and daughter as Tom’s worldview widens while Will’s closes in.”
“For all the music that ‘Hotel Transylvania 3: Summer Vacation’ offers, it amounts to a one-note production.”