By Adam Nayman | December 24, 2016

The ability of director Maren Ade to wring, in precise order and proportion, moments of amazement, humiliation, fear, guilt, longing, acceptance, and, above all, catharsis, out of the material in the final stretch verges on authentic genius.

By Nick Pinkerton | December 23, 2016

The distance between what Affleck imagines his screen presence to be and what it in fact is constitutes a yawning gorge in Live by Night, and free-falling through this vast, cavernous space you can find a few fleeting moments of giddy pleasure before the final thud.

By Julien Allen | December 21, 2016

I, Daniel Blake is a film not about injustice (which we can all read about), but about hardship (which we do not) and how its victims cope with it. We are never allowed to forget the inhumane backdrop, via the mind-numbing repetition of ghastly, subliterate welfare terminology.

By Mayukh Sen | December 20, 2016

His output in the decade since Volver (2006), from Broken Embraces to The Skin I Live In to I’m So Excited, has lacked the charge and spontaneity of his finest work. Julieta has awoken him from this recent stupor.

By Adam Nayman | December 19, 2016

The padre and the psychopath are figures situated at either end of his career, but as they gaze at their reflections, they also mirror one another: one can find within these two very different films the parallel plights of men in the midst of desperate introspection.

By Nick Pinkerton | December 8, 2016

I suspect Chazelle will be a name to watch for some time to come, and his third feature suggests that he has some definite ideas about popular moviemaking. Would I maybe loathe it a little less if it were not so unimpeachably competent?

By Nick Pinkerton | December 2, 2016

It is a laborious ordeal of unceasing histrionic assault and gymnastic hysterics, in its way a feminine counterpart to the monotonous masculine trudge of The Revenant, though Jackie has the decency at least to be brief.

By Greg Cwik | November 23, 2016

Evolution is a serene film, one that exists in a state of twilight sedation, but beneath the surface something stirs, like the percolating uncertainty of a boy stricken with fever and confined to his bed.

By Jeff Reichert | November 22, 2016

A one-woman filmmaking army, Stratman exhibits a knack for choosing historically significant locations and then, through careful framing, the addition of the right sounds, the introduction of primary source texts and other unexpected choices, slowly unpacks the history of the place we are looking at.

By Nadine Zylberberg | November 21, 2016

Human languages are processed sequentially: left to right, right to left, top to bottom. Arrival draws parallels between our understanding of sentences and our notions of time and space, and then envisions a world without these boundaries.

By Jackson Arn | November 17, 2016

With his willingness to throw ordinary characters into almost unbearably tragic situations from which no greater meaning seems salvageable, Lonergan stands apart from the bulk of American narrative directors working today.

By Jeff Reichert | November 17, 2016

Marcel is the younger of the pair, and over the course of the film, we watch him turn from 52 to 53, lose his wife of 16 years, navigate single parenthood, and attempt rehab for alcoholism.

By Genevieve Yue | November 8, 2016

To the extent that eroticism is about arousing acceptable forms of sexual desire, then, Elle tries to separate its motivations: using sex because one needs it, i.e. to satisfy a compulsion or dominate another through rape (unerotic), or enjoying it as an end in itself (erotic).

By Michael Koresky | October 20, 2016

Directed with a rare combination of aesthetic vigor and emotional delicacy, this is a film that resonates in our culture and moment not because it was manufactured to matter, but because in its every breath it has clearly stayed true to itself.