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[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...

[Cannes Review] Tale of Tales

Tale of Tales, Matteo Garrone’s first English-language film as well as his first featuring an international cast, is an adaptation of three of the 50 fairy tale...

[Cannes Review] Our Little Sister

Those who fault Hirokazu Kore-eda for retracing largely similar territory with each consecutive film will find their criticism corroborated by Our Little Sister...

[Review] Pitch Perfect 2

Part of the joy of the first Pitch Perfect was how unexpected it was. Every moment of heightened reality, every non sequitur, every cartoonish facet of each per...

[Montclair Review] The Russian Woodpecker

Earning a grand jury prize at this year's Sundance, The Russian Woodpecker is an exhilarating collaboration between US-based filmmaker Chad Gracia and Ukrainian...