The opening scene of Dolemite Is My Name shows promise: future Blaxploitation legend Rudy Ray Moore (Eddie Murphy) is trying to shuck an old record he recorded ...
Look out: we have a new entry in the “Great Man” biopic subgenre, one that has spawned films as varied as John Ford’s The Long Gray Line and, uh, Jay Roach’s Tr...
Anne (Deragh Campbell) is in stasis. Doing four shifts a week at a Toronto daycare, she’s repeatedly given a hard time by co-workers (or the managerial state in...
If a certain trend has emerged within the past half-decade of indie films, it’s the cinema of the grifter; very small-scale titles like Joel Potrykus’ Buzzard o...
Finally, evil in cinema is back! That was the impression running through the mind of this writer during all 132 minutes of Albert Serra’s Liberté, a film so tho...
Outside of Pedro Costa and Ted Fendt, it’s been hard to detect the aesthetic influence of radical filmmaking duo Jean-Marie Straub and Danièle Huillet on contem...
At least based of its original title of Where Life is Born, director Carlos Reygadas’ fifth feature film from the outset seemed to promise the ultimate realizat...
Every once in a while there comes some serious difficulty in reviewing a film, chiefly one with noble aesthetic and ideological ambitions. Roberto Minervini’s n...
Getting the chance to be an exceedingly dull stab at Elevated Horror, Elevated Thriller, and Elevated Action all in one fell swoop, Jeremy Saulnier’s Hold the D...
Beginning on a shot of the Paris cityscape–yes, the Eiffel Tower plainly in view and everything that surrounds it–Louis Garrel’s A Faithful Man self-awarely ann...
