By Justin Stewart | April 21, 2017

Free Fire is often reminiscent of the cash-in Tarantino-esque titles that invaded video stores after Pulp Fiction, time capsules like 2 Days in the Valley, City of Industry, or 8 Heads in a Duffel Bag, rather than being a new or exciting thing of its own.

By Nick Pinkerton | April 21, 2017

Without ever seeming to reign supreme over the European festival scene as, say, the Dardenne brothers or Michael Haneke have at various points, Dumont anticipates and exemplifies features of the contemporary art film to a greater degree than either of those Cannes mainstays.

By Nick Pinkerton | April 14, 2017

The Lost City of Z is beautiful, all the more so for not being beautiful in the obvious ways. Working for the second time with cinematographer Darius Khondji, who also shot The Immigrant, Gray films both jungle and English countryside with long lenses and a shallow depth-of-field.

By Nick Pinkerton | April 11, 2017

A Quiet Passion proposes the outwardly unspectacular life of Emily Dickinson not as the story of a no-hoper spinster but as an act of courage, the struggle of a woman to overmaster herself, to sacrifice her own life (and preserve her maidenhead) so that her work might live.

By Jeff Reichert | April 5, 2017

Graduation drops viewers firmly in contemporary Romania, and offers the image of a nation where the trappings of modernity have been uneasily papered over a people and culture with a deep history of patriarchal tribalism.

By Keith Uhlich | March 31, 2017

The first live-action take on the material, a big-budget Western production from Paramount and DreamWorks, is a worthy addition to the canon, if still exceedingly dubious in a number of its particulars.

By Leo Goldsmith | March 29, 2017

It is hard not to perceive something darkly subversive in the making of a film in which a beloved cinematic icon sits in bed, made up like a poodle and festooned in wig, frills, feathers, and fabrics, rotting away from gangrene while a whirlwind of bland and ill-equipped hangers-on try vainly to keep him preserved.

By Jeff Reichert | March 24, 2017

What happens when audiences have come to expect long-simmering, historically engaged Gesamtkunstwerks from a filmmaker and then are treated rapid-fire to a series of increasingly ungraspable present-day love stories? What is Malick doing in To the Wonder, Knight of Cups, and Song to Song, and why now?

By Lauren Du Graf | March 22, 2017

By centering on Helen, the film has a feminist streak, a badly needed course corrective for a musical genre whose histories overwhelmingly stem from the perspective of men worshipping at the altar of other men.

By Kelley Dong | March 17, 2017

Kore-eda has explained that his latest film, After the Storm, is an unofficial sequel to his 2008 drama Still Walking. Both films contemplate the fresh wounds left by a deceased family member on the living; the former takes place over the course of a single day, the new film over several weeks.

By Chris Wisniewski | March 8, 2017

Assayas seems to have conceived this film as several genre pieces in one (a pseudo horror, a psychological thriller, a melancholy drama about grief), but each of these strands, incomplete in its way, serves a grander and fully realized purpose in the larger ontological excavation of Maureen.

By Jon Hogan | March 1, 2017

Conceiving this project after giving a guard team permission to use his music in 2008, David Byrne enlisted the Ross brothers, with their actively observant style, to document this evening, melding two art forms into a new type of performance.

By Nick Pinkerton | February 24, 2017

The premise serves as a malleable metaphor: the white coopting of black cool, cited as one of the reasons for the selection of exclusively black targets; the ongoing use of unwilling black bodies to perform white labor from plantation to penitentiary; and the pressures of conformity borne by the blacks living among white affluence.

By Keith Uhlich | February 16, 2017

There are pretty pictures, some interesting in broad-stroke conception, that are nonetheless leeched of those intangible qualities that would lend them genuine grandeur and thematic heft. As a result, they just sit there, heavy on the eyes, light on the heart and mind.