By Michael Koresky | September 15, 2017

Aronofsky piles on incidents (rather than plot), bodies (rather than characters), until what once had the potential to be a pastoral paradise has become a writhing, grasping, cluttered Bosch-like abyss.

By Julien Allen | September 6, 2017

Their contrivance is based on philosophical truths about human behavior, combined with faith in their audiences to distill truth from fiction. Their cinema presents an almost constant dialogue between the mundane and the colossal.

By Jeff Reichert | August 21, 2017

Nocturama is up to many things, perhaps including taking the piss, and it is not always easy to disentangle its aims.

By Benjamin Mercer | August 11, 2017

Their vision of a polarized and polarizing New York seems to have crystallized in a rather extraordinary way: to the Safdies, the city is at once a purgatory and a wonderland, a crucible that forges both deep grievance and limitless compassion.

By Nick Pinkerton | August 4, 2017

Bigelow is a filmmaker of no small power and intuition, although the movie at times seems curiously hesitant, hedging its bets with little bits of insurance against blowback or the possibility of being misunderstood.

By Elbert Ventura | August 2, 2017

The burdens and blessings of our patrimony, both cultural and personal, are an overriding concern in the debut feature by Kogonada. Columbus lingers on the juxtaposition between the architectural masterpieces that bedeck the region and the pedestrian lives of its residents.

By Julien Allen | July 21, 2017

Until now, his stubborn auteurism has foisted upon audiences a surfeit of heavy psychodrama, cinematic doggerel, and narrative stodge where the excitement (which he has always shown himself capable of engineering) should have been.

By Jeff Reichert | July 21, 2017

The film proceeds in an unhurried fashion, from one static shot to the next, with edits more often than not bringing about changes in time and space, rather than additional vantage points on events. Solnicki resists the urge to coalesce his vignettes into a more structured narrative experience.

By Jonah Jeng | July 20, 2017

The Girl Without Hands is based on the Grimm fairy tale of the same name about a young girl escaping from the devil after her father sells her for gold. Animated entirely by Laudenbach himself, the film seems to be in motion even on the rare occasion where it is standing completely still.

By Michael Koresky | July 7, 2017

Self-consciously spare and reaching for a grandeur possibly too far beyond its frame, A Ghost Story is nevertheless a film of mesmerizing visual ideas and conceptual integrity.

By Elbert Ventura | June 30, 2017

The broad-brush progressivism in Okja will be familiar to viewers who have seen other movies by Bong Joon-ho. Climate change, pollution, genetically modified foods, imperialism, militarism, and corporate greed are among the issues he has tackled.

By Nick Pinkerton | June 30, 2017

The 1971 version is a slippery object, an art film made by a genre specialist, while the 2017 film feels like the work of an art house director approaching a genre piece; though in assigning these labels, it is worth investigating what they mean.

By Jeff Reichert | June 23, 2017

We hear story after story in which subjects betray more than they would like about their class, race, personal successes, failures, and family before the patient, gentle cameras.

By Adam Nayman | June 23, 2017

Amirpour seems to have placed herself in a cozily indulgent trance, mesmerized by the possibilities of deluxe, corporately subsidized cult filmmaking.