By Nick Pinkerton | April 29, 2016

This low comedy, then, touches on a few highfalutin ideas: masculinity as performance for one, racial identity as a social construction for another. To one degree or another these things have been a part of Key and Peele’s comedy since their MADtv days.

By Nick Pinkerton | April 15, 2016

Incident and emotion play less of a role in determining the frame than pictorial grandstanding, and all of the shallow depth-of-field and moody haze feels like the work of a DP padding his reel.


In this Reverse Shot Talkie, director Joe Frank and host Eric Hynes browse the aisles of R.A.O. Video in Little Rock, Arkansas, to discuss the unique origins and process for his debut film, Sweaty Betty, a gloriously raw hybrid of performance and documentary, lo-fi home movie and sui generis art object.

By Giovanni Vimercati | April 14, 2016

The Polish director strikes a dramatic balance between subjective introspection and engagement with the outside world, stability and vertigo, the art of getting by and that of getting through. Skolimowski prefers the athletic directness of the physical act to intellectual manipulation.

By Michael Koresky | April 7, 2016

As with any good filmmaker, Mascaro uses the camera to help us see the world a little differently, a little more clearly. There’s something casually virtuosic about his new film, a work of strange realism that immerses the viewer in a natural yet defamiliarized environment of everyday ritual.

By Michael Koresky | April 1, 2016

Linklater, ever the good-natured observer of human connection and sensitive American masculinity, creates something strangely beautiful. He sculpts decency from what might have otherwise seemed an undifferentiated mass of testosterone.

By Jeff Reichert | March 31, 2016

The force of the film’s spare simplicity here reminds of the similarly devastating No Home Movie—artists of the caliber of Tsai or Chantal Akerman need no tricks to move an audience, only honesty and fearlessness.

By Daniel Witkin | March 29, 2016

Where Russian Ark deliberately decontextualized its various vignettes, Francofonia is generous almost to a fault with exposition, tracing the development of the German occupation in a leisurely manner.

By Michael Koresky | March 28, 2016

This is a film of unspeakable emotions, not platitudes; of how life and death can instill a room with meaning, not the lessons we learn from pain and loss.

By Brendan Keogh | March 24, 2016
Touching the Screen

Far Cry 2 perpetuates and depends on colonial themes and values as much as any open-world game, with the key caveat that it works a critique (or, at least, a cynicism) of the colonialist project into its playing.

By Eric Hynes, Jeff Reichert | March 18, 2016

In this Reverse Shot Talkie, French filmmaker Arnaud Desplechin sits down with host Eric Hynes to talk about his distinctive, full-bodied way of directing, and how it applied to his new film, My Golden Days.

By Jeff Reichert | March 15, 2016

First love is always critical, especially in the movies, but few are the scenarists like Desplechin who plumb it deeply enough to truly turn over all the minute pleasures and pains to find how thoroughly they shape a person.

By Nick Pinkerton | March 11, 2016
See It Big

A big influence on me was Edward Hopper, because I look at his paintings and you have two or three objects in a room, but they combine to create a mood and a whole story. Suddenly a lamp become important, or a poster or a piano, and you choose more carefully.

By Graham Fuller | March 4, 2016

First-time feature director Zhao resists courting our sympathy by presenting the family life as squalid, though many Pine Ridge families live without heating, clean water, or sanitation.

By Nick Pinkerton | March 4, 2016

I will never understand those hostile responses to Malick, which seem determined to hold the line so that American narrative cinema will not be overrun by avant-garde abstraction, as though there was a flotilla of directors making experimental films on this scale instead of literally just one guy.