Review: Spike Lee’s ‘Da 5 Bloods’ Matters
“As always, Spike Lee asks all the right questions, and it’s up to us to recognize that even though the answers may not be ones we want to hear, we need to grapple with them all the same.”
Review: The Shakespeare Sisters’ ‘Soundtrack to Sixteen’
“The Shakespeare Sisters boldly attempt to capture a young romance, but the film occasionally loses momentum with its loose script and clunky editing.”
Review: Abel Ferrara’s ‘Tommaso’
“‘Tommaso’ shows Ferrara taking his career in a new direction, and it’s nice to see someone of his stature still making innovative, daring films.”
Review: Laurent Bouzereau’s ‘Natalie Wood: What Remains Behind’
“Trying to free Wood from the enormous shadow cast by her death is no small feat. ‘Natalie Wood: What Remains Behind’ doesn’t quite manage the task…”
Review: Christian Sparkes’ ‘Hammer’
“Hammer’s short length may feel like a detriment to some and seem too sparse, with its brevity making for some awkward moments. That said, it’s a refreshing change from the sprawling crime sagas of late…”
Josephine Decker Casts a Spell with Elisabeth Moss in ‘Shirley’
“Moss is nothing short of phenomenal in ‘Shirley,’ filling out her performance with a steady flow of poisonously perfect wisecracks, putdowns and insults…”
Review: Josh Trank’s ‘Capone’
“Hardy provides something alien, both amusing and disgusting, a unique cross between Jack Nicholson’s Jack Torrance in ‘The Shining’ and Vincent D’Onofrio’s Bug in ‘Men in Black.'”
Review: Alex Lee Moyer’s ‘TFW NO GF’
“By the time ‘TFW NO GF’ lets the viewer up for air, faith in the facts will have dissipated. It may feel like time to get offline, and stay there.”
‘True History of the Kelly Gang’: Nothing in Life Is Free
“‘True History of the Kelly Gang’ explodes like a Molotov cocktail, one that is fueled by punk spirit and more androgynous costuming than a New York Dolls album.”
‘The Assistant’: Kitty Green’s Important Workplace Drama
“Green’s skillful direction is a master class in strategic elision.”
Review: Grímur Hákonarson’s ‘The County’
“Filled with powerful female-led moments, laid on the backdrop of the Icelandic countryside, Hákonarson’s crowd-pleasing humanist creation strengthens Iceland’s reputation within the international film circuit.”
Review: Brandon Christensen’s ‘Z’
“As a genre exercise, ‘Z’ shows promise for what Christensen might do with a higher budget.”
Review: Lorcan Finnegan’s ‘Vivarium’
“Taken purely at its basest form, ‘Vivarium’ is a terrifying isolation horror movie that goes for the jugular.”
Review: Marc Collin’s ‘Le choc du futur’
“One of the most accomplished elements of ‘Le choc du futur,’ which is Collin’s feature debut (he is better known as covers project Nouvelle Vague’s co-founder), is the way the film engages in an ongoing conversation on the nature of art and how we consume it as well as create it.”
Review: Jeff Barnaby’s ‘Blood Quantum’
“Politically motivated but never preachy, ‘Blood Quantum’ is a zombie movie for the ages that honors the grandest traditions of the genre while remaining true to its own unique essence.”
Review: Pablo Larraín’s ‘Ema’
“‘Ema’ is a challenge to the walls we build around ourselves, to the baggage we leave behind for our children and the folly of the damage we can do to each other.”
Review: Rachel Harrison Gordon’s ‘Broken Bird’
“‘Broken Bird’ may be only 10 minutes long, but the rhythms, characterizations and thematic interests make it feel like a richly detailed feature-length accomplishment.”
Foreign Objects: ‘Swallow’ Is a Convincing Feature Debut for Director Carlo Mirabella-Davis
“Haley Bennett’s central performance is career-best work.”
Review: Kirill Sokolov’s ‘Why Don’t You Just Die!’
“Revolving around an encounter in a single Russian apartment, Kirill Sokolov’s ‘Why Don’t You Just Die?’ is an electrifyingly-kinetic black comedy with densely-packed homages to international action cinema and a satirical commentary about Russian society.”
Review: Steve Elkins’ ‘Echoes of the Invisible’
“‘Echoes of the Invisible’ is both calming and exhilarating in equal measure.”