The film is uncannily expressive, intensely violent, and perversely funny.
The film is a human drama that skirts topicality to ruminate on the nature of truth itself.
The film wrings tension and excitement out of the simple exchange of sensitive information.
The film has a white-hot nerve of pain running inside it that burns right through the screen.
Skinner and Baram discuss coming out, sex on campus, and their show’s bratty soundtrack.
Everything here is too clean and fastidious—the opposite of lived in.
Garland and Mendoza adhering to a Dogme 95-esque code of purity while making the film.
The formal experimentation of the film is built to pose questions, not answer them.
Holland doesn’t seem to want us to know what to make of it.
The film knows that when the stakes are sky high, the emotions need to be firmly grounded.
The film suggests Rules of the Game cross-bred with a Spielberg creature feature.
Novocaine takes action-movie invulnerability to brutal comic extremes.
Robert Pattinson clearly relishes leaning into bug-eyed lunacy as much as he does pathos.
Can you blame Perkins for feeling cursed?
In its messy unreality, the film finds something profoundly simple in the trivial.
This crafty friendship comedy plumbs unanticipated emotional and thematic depths.
In the harsh light of 2025, the film’s snapshot of its 1997 setting doesn’t look like yesterday.
Gia Coppola has crafted a film that feels fleeting and illusory by design.
This is a near-perfect sequel in terms of go-for-broke intensity and one-upmanship.
This exuberant biopic is as hard to resist as it is to believe that it got made in the first place.