If knives weren’t already being sharpened for Ti West prior to MaXXXine––the third installment in his X series of exploitation throwbacks––they likely will be ...
Jeremy O. Harris' Slave Play. Not A Movie. A Play. is in fact a documentary self-portrait, at times providing a behind-the-scenes look at the workshopping of H...
Jac Cron’s Chestnut is undoubtedly more instructive than it is enjoyable. Instructive because it brings to the fore many of the dominant features of Gen Z gloo...
Expanding the cinematic universe of her first feature The Unknown Country, Morrisa Maltz’s Jazzy is a beautifully crafted portrait of childhood in South Dakota...
An ambling father-daughter road trip through ‘90s Poland, Julia von Heinz’s Treasure is an odd hybrid. On one side it’s a meandering portrait of a father (Step...
It’s been a difficult stretch for Pixar. In the near-decade since Inside Out became a creative and commercial hit, the animation powerhouse doubled down on a v...
A seemingly blissful union rapidly crumbles in Valérie Donzelli’s Just the Two of Us, a domestic abuse-drama presented as a harrowing-if-simplified psychologic...
There’s an argument to be made that the single image which best exemplifies pure cinematic wonder is the Archers logo. The introductory title reel belonged to ...
Mike Ott’s McVeigh is an immersive, chilling, meticulously paced portrait of Timothy McVeigh, played by Alfie Allen, who embodies the bleak, quiet rage of the ...
Grace Pudel (the voice of Succession’s Sarah Snook) is wishing goodbye to her elderly friend Pinky (Jacki Weaver), who’s currently prone on her deathbed. Once ...
