“Natalie Erika James manages to follow a near-identical narrative formula to ‘Rosemary’s Baby’ but without the sense of genuine danger. A story that should retain its prescience is rendered nothing more than nostalgia bait.”
“‘Sleep No More’ remains a mishmash of clichés, genres and lackluster ideas.”
“Perhaps Plante wasn’t sure how to end ‘Red Rooms’ without veering into sensationalism, which is commendable, but it doesn’t solve the problem of crafting an intriguing reason for why Kelly-Anne is so driven.”
“‘The Substance’ feels weirdly outdated, despite the writer-director’s many provocative attempts to demonstrate how misogyny and ageism play out in contemporary media.”
“Much of what makes ‘The Shrouds’ equally interesting and irritating is that Cronenberg seems to see conspiracy, confusion and competing dialogue as something impenetrable.”
“The refreshing clarity of Peck’s style in ‘Ernest Cole: Lost and Found’ often feels like a drawback in the way that it disrupts the emotional weight of voice and visual form.”
“With ‘Naale Rajaa Koli Majaa,’ Shetty gracefully explores the peculiarities of human relationships and the ironies of daily life in India, wherein the contemporary urban existence often stands at a crossroads with ancient traditions.”
“It’s quite remarkable how Diop captures the collective view of a West African country through her debate sequences in ‘Dahomey.'”
“Through well-defined performances and character dynamics, ‘I’ll Be Right There’ presents heartwarming ideas about personal growth with a genuine thoughtfulness and clever humor, resulting a a beguiling viewing experience.”
“For a filmmaker who made his name with two hyper-violent thrillers that triggered some queasy walkouts on the festival circuit, the character-driven moments in ‘Rebel Ridge’ feel like an evolution for Saulnier.”
‘Like many great crime films, ‘Only the River Flows’ makes full use of its setting, delivering a grimy and ugly story that suits its grimy and ugly central location.”
“Gould’s persona upended traditional notions of cinematic masculinity in its appeal to a generational fatigue and ambivalence; his sexual magnetism eschewed the amatory codes of the traditional leading man.”
“As a sports documentary, ‘Torched’ succeeds by establishing and celebrating the DIY culture of both Austin, Texas and the featured frisbee squad.”
“With ‘Between the Temples,’ Silver shows an awareness of dramedy cliches and takes great pleasure in making the audience’s skin crawl each time the narrative takes a sharp left turn from expectations.”
“‘The Outrun’ feels lacking in the specificity that makes for rewarding character drama.”
“What sells the overall ‘Alien: Romulus’ experience is the genuine authenticity of the cast itself.”
“‘Victims of Sin’ certainly is a product of its time and place in regard to its prescriptivism, but Fernández’s movie far surpasses its simpler elements because of its rather glorious and noirish textures.”
“‘Scrap,’ the feature directorial debut from actress Vivian Kerr, is yet another festival darling that is indeed charming, but one that doesn’t quite pack a punch with its overall visual design and technical execution.”
“‘What Remains’ is a low-key stylish film about human potential and the elevation of consciousness, though Huang keeps the audience trapped in a dark and uncomfortable place with his cryptic storytelling.”
“If ‘Kneecap’ was merely the first ‘edgy’ comedy in years with gags as shocking as they are laugh-out-loud hysterical, that would be enough to recommend it.”