By Chloe Lizotte | June 8, 2018

Writer/director Jim McKay’s fifth feature, and his first since 2005’s Angel Rodriguez, is his most tightly plotted film yet, propelled by a momentum that’s often exhilaratingly fleet. Yet his emphasis on his characters’ everyday stakes keeps the film from feeling lightweight.

By Nick Pinkerton | May 18, 2018

A very good actor who has in recent years grown into a great one, Hawke gives an extraordinarily controlled performance as a man struggling mightily to retain dominion over himself.

By Nick Pinkerton | May 11, 2018

If Hong is indeed the best that we have got, there is something troubling about this fact. For it should detract nothing from the integrity of his body of work to say that, when taken altogether, it is a quintessential expression of a cinema of disappointment and diminished expectations.

By Adam Nayman | May 3, 2018

Even the most resourceful, imaginative filmmaker would be hard-pressed to redeem the screenplay, specifically the lengths to which Cody goes to disguise the true nature of the story, and also the underlying reasons for the charade, which are unconvincing and in bad faith.

By Nick Pinkerton | April 24, 2018

That Denis can produce a work that, without a trace of preciousness, is equal parts indebted to Barthes and Chicago blues, connected as arm is to shoulder to the film-historical legacy of post-New Wave French filmmaking, is only further justification for claim that the 71-year-old is the greatest working director over the last two decades.

By Kelley Dong | April 13, 2018

Though it bears the markings of a gut-wrenching horror film, A Quiet Place is stubbornly optimistic about the existing order.

By Devika Girish | April 12, 2018

“It is a time when this country is under a lot of criticism, rightly so, and I have found my place in portraying certain things, but showing them to you in a way that you get to make your own judgment. And so far, I have been very moved that people want to see the good of this country.”

By Josh Cabrita | April 12, 2018
At the Museum

Gibson shows that filmmaking is an extension of a practice that is already proactive and lived. The evolving relationship between filmmaker and subject is retained implicitly in nearly every shot and interaction.

By Adam Nayman | April 11, 2018

If one of the principal powers and pleasures of cinema is its ability to momentarily suspend thoughts or cares about what lies outside the frame, then Zama can be taken an object lesson in manipulation. Every strenuously controlled moment and movement constitutes an irresistible entreaty to simply go blank and watch.

By Matthew Eng | April 5, 2018

Charlie is seeking both shelter and solace, but also a simple yet elusive thing: connection. This aligns him with all of the protagonists that writer-director Haigh has brought to the screen in a career that feels increasingly major with each new project.

By Nick Pinkerton | March 30, 2018

As Soderbergh, in his mini-mogul practice, endeavors to hack out new routes leading around the established economic order of filmmaking, his films depict men and women doing their best to negotiate contingency plans for the perilous environment created by a carnivorous economy on the prowl.

By Simran Hans | March 23, 2018

The meticulously detailed wasteland that Anderson has created is rendered with his typical craft and care . . . Yet in ethnically delineating its humans, the film sets up a curious, racially coded divide between dogs and the Japanese.

By Nick Pinkerton | March 16, 2018

Depardon is not out to expose naked cruelty, neglect, and dereliction of duty, as Wiseman and Wang do in their films, but something much more subtly invidious: the revolving-door efficiency of the state apparatus, mechanized service behind a blandly humane smile.

By Fanta Sylla | March 15, 2018

Black Panther is an unsettling experience. A sexy and entertaining blockbuster, the third feature by Coogler following Creed and Fruitvale Station is also a sad and perverse object. Its provocative ambiguity reveals itself only gradually.