“Bryan Fogel’s new documentary about the murder of Jamal Khashoggi is unsurprisingly hard-hitting, but it’s the context for macro-scale geopolitics that ‘The Dissident’ communicates so well.”
“There Is No Evil’s artistry is inconsistent, but its argument is undeniable.”
“Both emotionally and narratively, ‘The Man Standing Next’ is an easy story to get lost in.”
“‘Raya and the Last Dragon’ welcomes a reflection on its Asian-fusion design because western adaptations of Asian culture, even with visible and vocal creative Asian input, will come with a spectrum of orientalism…”
“‘Reality fiction’ contours everything in ‘City Hall,’ from the microscopic level of scene transitions to the macroscopic level of entire sequences given deliberate framings…”
“Rather than using the violence itself as a punchline, ‘Voice of Silence’ builds a comedy of manners out of Chang-bok and his colleagues’ sensibilities.”
“The most powerful aspect of ‘Lost Course’ is how it portrays the struggle of the Wukan citizens as a general metaphor for political corruption and the futility of activism.”
“It’s a delight to watch Stork think in ‘Preparations to Be Together for an Unknown Period of Time.’ Her cogitations are signaled by the darting actions of her piercing blue eyes, the slight flex of an eyebrow or the raising of a subtle and pursed smirk.”
“When viewed as a character study, ‘Made You Look’ is the rare art documentary that has a re-watchable quality.”
“The foregrounding of Mohamedou’s experiences and perspective — and, by extension, all those subjected to Guantánamo’s purpose — is the fuel in The Mauritanian’s engine.”
“Good onscreen chemistry between Jena Malone and Pablo Schreiber lifts the filmmaker’s debut feature out of traps set by occasionally mundane dialogue and predictable complications.”
“Swab’s personal experience bleeds into every frame of ‘Body Brokers,’ making it a taxing watch at times, but its true power lies in the details…”
“In ‘PVT Chat,’ the half-baked attempts to create thematic through lines and symbolism prove to be the greatest flaws.”
“Given that ‘Dara of Jasenovac’ is the first Serbian film to cover the camps, the implicit didacticism would actually be more welcomed if it did its job and taught viewers something.”
“Despite Stalking Chernobyl’s clear position on the dangers of expanding nuclear power, Lee does not shrink from the otherworldly allure that draws so many to Chernobyl and Pripyat.”
“‘Saint Maud’ proves, once again, that horror, and particularly indie horror, provides the opportunity for first timers to take real risks.”
“‘Prime Time’ is at its most energetic and engaging during the early scenes; a setup familiar enough for any viewer of Sidney Lumet’s ‘Dog Day Afternoon’ or the many films he inspired.”
“‘Land’ is positioned as an exploration of grief and survivor’s guilt — a crowded celluloid space – but the lack of distinctive figures renders Wright’s film picturesque but fallow.”
“‘Tove’ is a tribute to all creatives who pursue their passion projects, and applauds those who are able to break free from bindings.”
“‘Sator’ is a slow burn, and the payoff for waiting around will not suit everybody. Like ‘Blair Witch,’ it requires your full attention to really make an impact — half-watching while scrolling through Twitter won’t cut it.”