Initially resembling a dark psychological drama, the film increasingly settles into a gentler tone.
Hedda is more of a fun exercise in inventive adaptation than a fully-realized work.
Zhao’s take on Shakespeare’s family life telegraphs its themes loudly and incessantly.
The film surveys an era’s unprecedented upheavals with an ambivalent eye.
Julia Ducournau returns to the well of body horror, albeit a little tentatively.
This vivid, nostalgic portrait of family life opens out into a self-reflexive study of grief.
Jude’s inability to commit fully to any political or cultural perspective proves frustrating.
The film is perhaps Joachim Trier’s most mature and emotionally complex work to date.
The film is mostly memorable for its depiction of a city gradually hollowing itself out.
The film is efficiently orchestrated, but its storytelling is remarkably leaden and incoherent.
If the film communicates a political stance, it’s against the colonial ambitions of Great Britain.
Alexandra Simpson’s film fluctuates between dreamy ennui and slowly escalating dread.
The film’s only resonance lies in the cynical assertions about society and human nature.
Inheritance’s bizarre mismatch of form and content mostly saps it of life.
Arnold’s artful indulgences often detract from the film’s purported authenticity.
McQueen’s painterly eye and showmanship are put in service of a populist fable.
Often blunt and unwieldy, Mohammad Rasoulof’s film is nevertheless impactful.
Universal Language is aiming beyond mere satire or culture-clash playfulness.
Death Will Come is a conspicuously de-glamorized tale of violent characters on society’s fringes.
This tale of spiritual and neo-colonial exploitation is unfocused and unrelentingly somber.