Locarno Review: ‘All Good’ Confronts a Nightmare with Uneasy Mundanity

What immense health German cinema has found itself in lately. Since the turn of the decade, audiences of a certain ilk have grown accustomed to seeing names lik...

Fantasia Review: ‘Microhabitat’ is a Profound Meditation on the Choices of Life

What do you need to survive? It's a common question we all ask ourselves — one that goes beyond the basic tenets of food, water, shelter, and human interaction....

Review: Keanu Reeves Brings His Charm to ‘Siberia,’ But the Plot Will Leave One Cold

One of a myriad quasi-thrillers set overseas, featuring a bankable star, and centered on the convergence of commerce and crime, Siberia is an oddity. These drop...

‘An Elephant Sitting Still’ Trailer Introduces Hu Bo’s First and Final Film

Initially premiering at the Berlin International Film Festival earlier this year, An Elephant Sitting Still is the directorial debut drama from the late Chi...

Review: In ‘Jurassic World: Fallen Kingdom,’ J.A. Bayona Milks a Dying Franchise For All It’s Worth

A once-dormant entity is resurrected and vulgarly mutated to fit the irresponsible demands of an entire population in the name of capitalist greed–this is not o...

Cannes Review: Jafar Panahi’s ‘3 Faces’ Is a Loose, Empathetic, Ultimately Minor Work

3 Faces is the fourth film Jafar Panahi has made in defiance of a 20-year filmmaking ban the Iranian government issued against him in 2010. The first three were...

Cannes Review: Paweł Pawlikowski’s ‘Cold War’ Finds Love In a Hopeless Time and Place

What a deft, lean storyteller this Paweł Pawlikowski has become. The five-year gap between his latest film, teasingly titled Cold War and given a berth in compe...

Review: ‘Measure of a Man’ is an All-Too-Familiar Coming-of-Age Dramedy

The coming of age dramedy is a crowded genre with many seminal works established in the 70s and 80s. It's tough to therefore see any entries without comparing t...

Review: ‘The Devil and Father Amorth’ Finds William Friedkin Haphazardly Returning to Exorcism

Director William Friedkin had never seen an actual exorcism when he made the canonical possession film The Exorcist. No one seems to think the material suffered...

Aaron Katz and John Cho on ‘Gemini,’ Gun Violence, and Finding the Heart of Los Angeles

We spoke to the writer-director, and his star, Cho, about creating the moods of Gemini, and how a tale of gun violence lands differently in the current political era....