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.

By Michael Joshua Rowin | June 23, 2017

The Big Sick was directed by Michael Showalter, whose anarchic sensibility (as best represented in his absurdist sketch comedy troupes The State and Stella) is completely absent from the film.

By Nick Pinkerton | June 20, 2017

Tavernier approaches his subject not only as a film lover but also as a film director who knows his way around a set, a man with an inexhaustible appetite for dish about behind-the-scenes goings on and an insatiable curiosity for what makes movies tick.

By Michael Joshua Rowin | June 9, 2017

As the cinematic past increasingly recedes we will probably see a lot more films like Dawson City: Frozen Time, a documentary that attempts to reacquaint viewers with film as film at the same time as it eulogizes the former material basis of the medium.

By Adam Nayman | June 7, 2017

The juxtaposition of different kinds of interiority, of a living space and a headspace being simultaneously invaded, is sophisticated and clever. It is also not quite enough to offset the accumulation of cliches that Shults uses to shape his story, which is little more than pretense for shows of stylistic force.

By Daniel Witkin | May 26, 2017

While the New York–set Hermia and Helena carries on the alternately fastidious and freewheeling sensibility of his previous Shakespeare films, it is the first to be set outside Argentina, as well as the only one thus far to engage with the Bard in English.

By Jeff Reichert | May 19, 2017

The comparatively bite-sized, almost four-hour The Woman Who Left feels like a work that could start to open Lav Diaz up to a larger U.S. audience in a way that Norte, the End of History, his last film distributed here did not.