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[Review] Dark Star: H. R. Giger’s World

"This is the oldest skull I have," says Hans Rudolph "Hansruedi" Giger, displaying his macabre prize as the Oscar he won for Alien sits off-camera, collecting d...

[Cannes Review] The Lobster

The eminently idiosyncratic films of Yorgos Lanthimos revile the societal constructs that stifle and pervert human interaction. In laying bare these structures’...

[Montclair Review] Welcome to Leith

In what could also be described as a horror film, Welcome to Leith is a truly terrifying portrait of a small town of 24 residents that one day receives an unwel...

[Cannes Review] In the Shadow of Women

While fitting snugly in the overall cohesiveness of Philippe Garrel’s filmography, In the Shadow of Women nevertheless feels like a companion piece to its prede...

[Cannes Review] Standing Tall

Seemingly drawing influence from Xavier Dolan’s Jury Prize-winning Mommy (but certainly not enough to be deemed overly derivative), Emmanuelle Bercot’s La tête ...

[Review] Mad Max: Fury Road

It's not often delays, financial dissolutions, and waning interest make a film better, but I don't want to know what Mad Max: Fury Road might have been without ...

[Review] Love & Mercy

Confronting the memory, myth and legend of Beach Boys’ Brian Wilson, Love and Mercy, directed by Bill Pohlad is an often-heartbreaking watch, exploring Wilson’s...